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#unreal #3d #leveldes
TO BUILD A FIRE
2D Side-Scrolling Adventure Game
Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
Navigation
#unreal #3d #leveldes
TO BUILD A FIRE
2D Side-Scrolling Adventure Game
Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
Navigation
#unreal #3d #leveldes
TO BUILD A FIRE
2D Side-Scrolling Adventure Game
Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
Navigation
PROJECT SHOWCASE
PROJECT SHOWCASE
PROJECT SHOWCASE
INTRODUCTION
TO BUILD A FIRE is a 2D Side-Scrolling Survival Adventure Game. Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
INTRODUCTION
TO BUILD A FIRE is a 2D Side-Scrolling Survival Adventure Game. Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
INTRODUCTION
TO BUILD A FIRE is a 2D Side-Scrolling Survival Adventure Game. Play as a Little Match Girl abandoned in the city of Haslev on New Years Eve. You intend to sell what little possessions you have left – your matchsticks. Wander around darkened streets and meet citizens who are in need of warmth and help. As the evening grows cold, so do you. Will you be able to survive the night?
project details
Duration
3 months
PROJECT TYPE
Video Game
TEAM SIZE
5
PROJECT OBJECTIVES
Unity Game Prototype w/ Narrative Focus
software used
Unity Engine, Visual Studio Community, Clip Studio Paint, Figma
ASSET CREDITS
Images from Unsplash
Icons from The Noun Project
project details
Duration
3 months
PROJECT TYPE
Video Game
TEAM SIZE
5
PROJECT OBJECTIVES
Unity Game Prototype w/ Narrative Focus
software used
Unity Engine, Visual Studio Community, Clip Studio Paint, Figma
ASSET CREDITS
Images from Unsplash
Icons from The Noun Project
project details
Duration
3 months
PROJECT TYPE
Video Game
TEAM SIZE
5
PROJECT OBJECTIVES
Unity Game Prototype w/ Narrative Focus
software used
Unity Engine, Visual Studio Community, Clip Studio Paint, Figma
ASSET CREDITS
Images from Unsplash
Icons from The Noun Project
Role & responsibilities
Role
Project Manager, Systems Lead, Narrative Designer
For this project, I took on multiple roles, related to this Project's Premise.
As the Project Manager, I played an active role in checking on my team mates' progress, and ensured that certain milestones were met.
As the Systems Lead, I was responsible for creating the game's systems, allowing my co-designers to work on the project. Examples include Dialogue, UI, Cutscenes and Story Flags.
As a Narrative Designer, I participated in organizing the structure of the story, in relation to the game's multiple endings, alongside writing dialogue for some of the game's characters.
Contributions:
Pitching game ideas & concepts to team mates
Advising team on production and scope of project
Consulting team mates on game's Art & Narrative Direction
Breaking down game pre-requisite Art Assets for artists
Writing & reviewing dialogue scripts for characters and narrative events
Populating levels with art assets to deliver environmental immersion
Creating gameplay systems such as movement, in-engine cutscenes, dialogue, text-parsing, adaptive UI, NPCs, story flags
Role & responsibilities
Role
Project Manager, Systems Lead, Narrative Designer
For this project, I took on multiple roles, related to this Project's Premise.
As the Project Manager, I played an active role in checking on my team mates' progress, and ensured that certain milestones were met.
As the Systems Lead, I was responsible for creating the game's systems, allowing my co-designers to work on the project. Examples include Dialogue, UI, Cutscenes and Story Flags.
As a Narrative Designer, I participated in organizing the structure of the story, in relation to the game's multiple endings, alongside writing dialogue for some of the game's characters.
Contributions:
Pitching game ideas & concepts to team mates
Advising team on production and scope of project
Consulting team mates on game's Art & Narrative Direction
Breaking down game pre-requisite Art Assets for artists
Writing & reviewing dialogue scripts for characters and narrative events
Populating levels with art assets to deliver environmental immersion
Creating gameplay systems such as movement, in-engine cutscenes, dialogue, text-parsing, adaptive UI, NPCs, story flags
Role & responsibilities
Role
Project Manager, Systems Lead, Narrative Designer
For this project, I took on multiple roles, related to this Project's Premise.
As the Project Manager, I played an active role in checking on my team mates' progress, and ensured that certain milestones were met.
As the Systems Lead, I was responsible for creating the game's systems, allowing my co-designers to work on the project. Examples include Dialogue, UI, Cutscenes and Story Flags.
As a Narrative Designer, I participated in organizing the structure of the story, in relation to the game's multiple endings, alongside writing dialogue for some of the game's characters.
Contributions:
Pitching game ideas & concepts to team mates
Advising team on production and scope of project
Consulting team mates on game's Art & Narrative Direction
Breaking down game pre-requisite Art Assets for artists
Writing & reviewing dialogue scripts for characters and narrative events
Populating levels with art assets to deliver environmental immersion
Creating gameplay systems such as movement, in-engine cutscenes, dialogue, text-parsing, adaptive UI, NPCs, story flags
PROCESSES
PROJECT PREMISE
For this module, each student was required to come up with a narrative project idea and pitch it to the class. From there, teams would be formed based on the projects selected.
There was no guarantee that the idea pitcher would be working on their own project, hence the idea to be pitched should be floated between individuals with a base amount of groundwork for others to review and develop for the end product.
My pitch was To Build A Fire, and it was one of the projects selected to be worked upon. Given that I was most likely to have a tangible vision for the project's end goal, I was designated Project Manager collectively by the team as we divided ourselves into different roles.
CONCEPTUALIZATION
The game took inspiration from two tales: The Little Match Girl by Hans Christian Anderson, and To Build A Fire by Jack London.
From these two short stores, themes of a Winter Eve on New Years could be drawn, while the player character struggles for survival. Ideas such as family, poverty, escapism and death could be emphasized by the potential Project Manager.
The setting of Copenhagen was also proposed in alignment with Hans Anderson's origins in Denmark. This allowed the team to draw on environmental elements from real life as a reference.
Emotionally, the game was to focus on loneliness, nostalgia and alienation, developing these as the game progressed to facilitate unity and trust. A challenge that could arise from this design would be to ensure that the player feels that they have enough agency during gameplay while potentially under duress.
A brief diagram illustrating the intended gameplay loop could be seen here:
Other project details, such as tools, role division and milestone schedules were also planned for this project pitch.
NARRATIVE design
As I championed the Systems Lead role to begin with, I had allowed my co-designers to work on developing the game's narrative. Their work focused predominantly on the first phase/cycle of the game:
As development continued, we decided to cut down on the project scope to maintain quality for a product we could deliver. I stepped in here to help revise some of their efforts to better align the narrative direction towards branching paths and weight behind player choice.
Editing the narrative direction would also affect the scope of work for other team members, so we decided to revise the art assets needed from our artists as well.
My co-designers and I worked on the quest dialogue together afterwards on Excel. I had illustrated cues as to where System interactions would go, such as activating Story Flags or keeping track of Dialogue Sets in relation to the quest.
LEVEL DESIGN
The designers of the team had planned out how the game's level would look like, alongside a time-passage cycle which would open up more of the level after certain actions.
Past planning, I was in charge of implementing the art assets from our artists to deliver a representative and immersive setting in the project. My co-designers handled the lighting and laid out an approximate space for my decorations to be placed at before I populated the scene.
SYSTEMS DEVELOPMENT
As the Systems Lead, I worked on implementing the Dialogue System first alongside the Match Offering system to facilitate this. I had to ensure that from these systems, my co-designers could implement and set dialogue for individual NPCs.
After revising the project scope, I also drafted requirements for what new scripts would be needed to facilitate the new Narrative Direction of the game. These were for my co-designers, as I required assistance while working on other parts of the project.
PROCESSES
PROJECT PREMISE
For this module, each student was required to come up with a narrative project idea and pitch it to the class. From there, teams would be formed based on the projects selected.
There was no guarantee that the idea pitcher would be working on their own project, hence the idea to be pitched should be floated between individuals with a base amount of groundwork for others to review and develop for the end product.
My pitch was To Build A Fire, and it was one of the projects selected to be worked upon. Given that I was most likely to have a tangible vision for the project's end goal, I was designated Project Manager collectively by the team as we divided ourselves into different roles.
CONCEPTUALIZATION
The game took inspiration from two tales: The Little Match Girl by Hans Christian Anderson, and To Build A Fire by Jack London.
From these two short stores, themes of a Winter Eve on New Years could be drawn, while the player character struggles for survival. Ideas such as family, poverty, escapism and death could be emphasized by the potential Project Manager.
The setting of Copenhagen was also proposed in alignment with Hans Anderson's origins in Denmark. This allowed the team to draw on environmental elements from real life as a reference.
Emotionally, the game was to focus on loneliness, nostalgia and alienation, developing these as the game progressed to facilitate unity and trust. A challenge that could arise from this design would be to ensure that the player feels that they have enough agency during gameplay while potentially under duress.
A brief diagram illustrating the intended gameplay loop could be seen here:
Other project details, such as tools, role division and milestone schedules were also planned for this project pitch.
NARRATIVE design
As I championed the Systems Lead role to begin with, I had allowed my co-designers to work on developing the game's narrative. Their work focused predominantly on the first phase/cycle of the game:
As development continued, we decided to cut down on the project scope to maintain quality for a product we could deliver. I stepped in here to help revise some of their efforts to better align the narrative direction towards branching paths and weight behind player choice.
Editing the narrative direction would also affect the scope of work for other team members, so we decided to revise the art assets needed from our artists as well.
My co-designers and I worked on the quest dialogue together afterwards on Excel. I had illustrated cues as to where System interactions would go, such as activating Story Flags or keeping track of Dialogue Sets in relation to the quest.
LEVEL DESIGN
The designers of the team had planned out how the game's level would look like, alongside a time-passage cycle which would open up more of the level after certain actions.
Past planning, I was in charge of implementing the art assets from our artists to deliver a representative and immersive setting in the project. My co-designers handled the lighting and laid out an approximate space for my decorations to be placed at before I populated the scene.
SYSTEMS DEVELOPMENT
As the Systems Lead, I worked on implementing the Dialogue System first alongside the Match Offering system to facilitate this. I had to ensure that from these systems, my co-designers could implement and set dialogue for individual NPCs.
After revising the project scope, I also drafted requirements for what new scripts would be needed to facilitate the new Narrative Direction of the game. These were for my co-designers, as I required assistance while working on other parts of the project.
PROCESSES
PROJECT PREMISE
For this module, each student was required to come up with a narrative project idea and pitch it to the class. From there, teams would be formed based on the projects selected.
There was no guarantee that the idea pitcher would be working on their own project, hence the idea to be pitched should be floated between individuals with a base amount of groundwork for others to review and develop for the end product.
My pitch was To Build A Fire, and it was one of the projects selected to be worked upon. Given that I was most likely to have a tangible vision for the project's end goal, I was designated Project Manager collectively by the team as we divided ourselves into different roles.
CONCEPTUALIZATION
The game took inspiration from two tales: The Little Match Girl by Hans Christian Anderson, and To Build A Fire by Jack London.
From these two short stores, themes of a Winter Eve on New Years could be drawn, while the player character struggles for survival. Ideas such as family, poverty, escapism and death could be emphasized by the potential Project Manager.
The setting of Copenhagen was also proposed in alignment with Hans Anderson's origins in Denmark. This allowed the team to draw on environmental elements from real life as a reference.
Emotionally, the game was to focus on loneliness, nostalgia and alienation, developing these as the game progressed to facilitate unity and trust. A challenge that could arise from this design would be to ensure that the player feels that they have enough agency during gameplay while potentially under duress.
A brief diagram illustrating the intended gameplay loop could be seen here:
Other project details, such as tools, role division and milestone schedules were also planned for this project pitch.
NARRATIVE design
As I championed the Systems Lead role to begin with, I had allowed my co-designers to work on developing the game's narrative. Their work focused predominantly on the first phase/cycle of the game:
As development continued, we decided to cut down on the project scope to maintain quality for a product we could deliver. I stepped in here to help revise some of their efforts to better align the narrative direction towards branching paths and weight behind player choice.
Editing the narrative direction would also affect the scope of work for other team members, so we decided to revise the art assets needed from our artists as well.
My co-designers and I worked on the quest dialogue together afterwards on Excel. I had illustrated cues as to where System interactions would go, such as activating Story Flags or keeping track of Dialogue Sets in relation to the quest.
LEVEL DESIGN
The designers of the team had planned out how the game's level would look like, alongside a time-passage cycle which would open up more of the level after certain actions.
Past planning, I was in charge of implementing the art assets from our artists to deliver a representative and immersive setting in the project. My co-designers handled the lighting and laid out an approximate space for my decorations to be placed at before I populated the scene.
SYSTEMS DEVELOPMENT
As the Systems Lead, I worked on implementing the Dialogue System first alongside the Match Offering system to facilitate this. I had to ensure that from these systems, my co-designers could implement and set dialogue for individual NPCs.
After revising the project scope, I also drafted requirements for what new scripts would be needed to facilitate the new Narrative Direction of the game. These were for my co-designers, as I required assistance while working on other parts of the project.