The Three Laws

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Project Overview

This project was undertaken initial by four people, however, due to the lack of work from 50% of the group the team was culled to 2 members, one focusing on Blueprint work (Alex Morris) and one on everything else from modelling, level design, narrative and more; Which was myself.

Firstly, to point out that the team used content packs to help with production, such as the Soul: City pack by Epic Games and a few prop packs we had bought. However, I myself created a vast amount of props and materials for the project along with all the level design and conceptualisation of the game. I also produced all the music for the game.

Level Design

Designing the level from scratch took a bit of preparation, I obviously wanted to have various ‘boss’ fights and set piece areas, yet had to recognise the project is constrained along one axis of play, being a 2.5d metroidvania style game.

Above: Early Prototype Concept

Above: Pre-Alpha Version

Being 2.5d meant certain rooms would link into other rooms visually, now I decided against trying to implement a ‘this war of mine’ style blackout of rooms you as the player were currently not in due to wanting the player to see events in rooms I choose you to see into. Such as robots throwing denizens of the world into walls and more, or even just showing the fact there is a collectable gel canister in that room provoking further explorative thoughts for the player.

I also had to think about making the areas of the map feel naturally connected to each other, because due to picking up various upgrades such as a hacking tool and jump boots (double jump), you could access new and exciting areas, such as the entertainment district and exploration areas you had already been through with previously inaccessible doors or ledges.

The screenshot above shows one of our platforming areas, where you make it through buildings (the one on the right is a derelict building being built), to other apartments, but I wanted to make this look and feel natural, thus the platforms you move along are different pipes (which I created). Furthermore, to enhance the realism and believability of the level I added elements to the background such as the monorail (sourced) as seen in the above screenshot, which moves through the level.

I personally believe that the feel of a level is paramount in the player having fun and believing they are in another world. Thus, I researched other games which could be deemed as pioneers in adding exploration which felt natural. One of which was Goldeneye 64, which at the time and especially being a FPS, felt ground breaking in terms of exploration available to the player when moving through the levels. The lead designer stated that they designed the levels without a start and end point, thus the team added loads of different rooms, then they decided on start and end points. I used this same technique with my level, thus the extra rooms though the level feels a natural extension of the world and not just added as filler.

The above screenshot is one of the stealth sections of the game, where you avoid the flying ‘Patbot’ robot that randomly patrols (my team member scripted Patbot) this hallway of the map, due to narrative reasoning being a curfew in effect. If you get seen, he calls reinforcements and you get into a standard battle with the robots, however, if you get past him by crouching and sneaking then you can make it through the area without combat at all. Note: Only the boxes and pipes were sourced in this picture, all else was created by myself via Maya or Substance Painter.

Another problem with 2.5d is getting the right depth in the background as well as showing rooms can be entered by other methods in the ‘game reality’ adding realism and believability. Rooms have to contain a certain amount of depth for combat scenarios also, allowing the player to take cover behind objects such as desks whilst in a fire fight. To counter this issue in some of the smaller rooms I came up with the idea to have a shield for the player which cannot be up at all times and regenerates over time.

Above: Early Prototype

Above: Alpha Version

I also wanted the player to constantly see in different forms they are a part of a giant city. Luck was on the team’s side with Epic releasing the ‘soul city’ pack for free whilst we were already working on the project. Which meant my city backdrop changed from above left to above right. The ones on the left however were to be placeholders for more better-looking buildings to be made (by myself) to replace them.

Modularity

The entire level is designed to be modular, with the structure of the level being created from 5 different wall pieces. 1 which is 3x3m plain. 1 which is 4x3m plain. 1 of each 3x3m with doorway and 4x3m with doorway. Final piece being a 3x3m with window (to climb through). Most of the items in the level created by myself have multiple textures created, allowing me to have clean and dirty versions of items within the game.

Above: Pre-Alpha Build (The Climb)

Above: Alpha Build (The Climb)

Above: Alpha Build (Outside Player Home)

Above: Alpha Build (Derelict building - Optional exploration)

Music Soundtrack

An entire musical soundtrack was produced for the game by myself and can be listened to at the following link.

https://soundcloud.com/zerocore-thanatos/sets/the-three-laws-cyberpunk-video

I took inspiration from other cyberpunk style pieces, such as the movies Blade Runner and its sequel, as well as other games that are deemed to be cyberpunk.

Reflection on Project

Throughout the project, I had a huge weight of work to produce, from initial conceptualization straight through to hand in, this was only exacerbated when the team was cut from four members to two at the start of semester two. This involved various aspects in order to be completed, such as researching methods of implementation, keeping to strict deadlines and working under stress whilst learning new techniques to lower the work load.

Researching and learning new techniques was a standard throughout the development of The Three Laws; for example, I had to fully learn how to use Substance Painter for texturing the models in the project he had created, constantly asking for advice from tutors with modelling and texture experience. I also had to learn how to use the music production software they had specifically bought for this assignment, in accordance to create the robust cyberpunk soundtrack heard throughout the game. I felt this was great in increasing my portfolio range, especially in terms of texture work, to which in the past would not be AAA quality as required at many studios in the games industry. Indeed, since learning how to adequately use Substance Painter during this module, I have revisited past work and updated them immensely to the point they can be shown off on this very portfolio website.

Furthermore, I along with the rest of the team had to keep to strict deadlines. Tasks were given per week to be completed for the following week and monitored by tutors, with strict repercussions if the deadlines were not met constantly. This meant I had to keep a diary and adhere directly to an online spreadsheet, keeping up with all goals and conditions set for me by tutors or the team throughout the entire development process. This largely was a success and gives experience to what the actual industry will be like in terms of deadlines and demands from publishers and stock holders.

The project as a whole could be deemed as a success. The team produced a piece of work that will be a good center piece on their portfolios along with helping them learn varied techniques and industry standards throughout the development process. Many who have looked upon the project did not expect only two people to have produced it, which also states the work and effort the two team members put into this project over the course of the two semesters.

Furthermore, all those involved in the project have learned new techniques and industry standard skills, such as blueprints or the use of substance painter, as well as honing their past skills.

It could even be said that the bad times suffered on this project, such as the team members who let the team down, are good overall experiences as it helped the remaining team members power through and work harder to gain all the lost ground. This can happen in the industry with personnel being laid off or having to stop work for personal reasons, meaning other staff have to pick up the slack, gritting together and producing the work despite the loss of work force.

Overall, if the team members had been tasked to take on this project from the start again, they would not only do so with new skills but know techniques and regimes that help them through stress and increase their workflow. This can only be deemed as a successful module for Alex Morris and James Tyler.

In-depth Report