Minute
When designing the level of Minute, it was a challenge as it was built vertically instead of the usual horizontal levels that I have been used to. I stuck to the core concept of Time, placing focus on the play area and verticality. The idea was to create moments of intensity as well as to keep the fun element in mind. Pushing for this, the levels, enemies and systems were designed in ways that could accentuate it.
In addition to this, I was paid extra attention to placing props, designing them to look natural but playable all the while using the layout and props to tell parts of the game's story and lore.
AfterLife
When designing AfterLife, I stuck to its core design pillars, Intensity, Action and Tactics. The idea was to create moments of intensity as well as to keep the fun element in mind. Pushing for this, the levels and enemies were designed in ways that could accentuate it. From narrow corridors, enemy types and placements to the lighting and pick ups. I used these elements not just to guide the player but to also create areas of tension and safety.
Timeless Tale
At the start of the project, proper planning on how the narrative structure would branch out was done before development. As the level designer, I wanted the tutorial segment to feel like a seamless transition to the main level. Thus, the tutorial was implemented along with the narrative structure. In addition to this, to aid players in puzzle solving, subtle hints were given to players whenever possible in addition to the layout of the rooms. This was in the form of objects being deliberately laid in a certain direction to guide a player's attention.
LunarNauts: Escape
When designing the environment of LunarNauts: Escape, the team placed an emphasis on exploration. As such, the level was designed in a way to guide players through lighting. The general layout of the level was drafted out with the intent of modularity in mind such that rooms of the space station could be inter-swapped to accommodate the game's implicit story. Referencing existing real life space stations, sci fi games and subterranean structures, I blocked out the shape and size of the different rooms. Level design went through multiple iterations, paying extra attention to space, lighting and cinematics in order tell an implicit story.
One Way Out
When designing the environment of One Way Out, a large emphasis was placed on the overall mood and design of the environment as the team did not want to use dialogues to tell the story. As such, not only the design of the level but props and environment pieces went through multiple iterations before being assembled in engine. As the level consists of individual train cabins, I segregated each cart to tell a part of the player's mental journey and the overall story of the game. I then used props, deliberately laying them in a certain direction to guide a player's attention.
Protocol Mars
