Transferable Skills
There are many skills I have developed during my ventures into the world of game design that will support me in my creative career, including knowledge of illustration, coding, level design, and narrative writing.
A visual studies module during my degree involved experimenting with traditional and digital artwork. I was challenged to problem solve and make use of creative thinking to combine elements of existing concepts into fresh ideas. Below is an example of creature design and value studies, as well as an adaptation of the tale of Alice in Wonderland as an endless runner mobile game, paying close attention to UI elements:
FANTASY PET SHOP
Through professional practice in the working environment, students from multiple USW courses joined forces to bring Fantasy Pet Shop to life, based upon the brief of "When is a card game NOT a card game?" provided by Tiny Rebel Games. This module has been commended with a Grads in Games 2022 Award for Collaborative Initiative. Solve puzzles in this shop keeping experience to deliver cards infused with animal souls through magical intervention as the world suffers from isolation during a Great Plague. See how many combinations of creatures can be unlocked through the discovery of imaginative hybrids! Playable for both PC and VR on the Oculus Quest 2.
Tasked as level designer for this project, I used assets made by game art students in my team to lay out the area for a diegetic in-game menu. The player can walk around the level to gain insight into the whimsical world they are in through my storytelling ability. The linear path to the exit leads to the main level of the pet shop, with tables strategically placed along the way to find scrolls that contain the game’s settings. Colour and lighting theory research was a necessary aspect of my role to fully immerse players.
My small coding tasks required me to set up a feeding system for a giraffe, who rises from the ground when enticed out with a leaf. This gave another purpose to the game's magic glove mechanic, which was initially only used to provide power to the card making machine. My new idea allowed the glove to water the plant pot and grow the required foliage, making the player much more inclined to explore and interact with the rest of the shop.
During the prototype stage of the project, I also put together a mock-up of the main shop level using 3D shapes that allowed VR mechanics to be tested in context for a sense of scale. I made the initial code that combines two compatible cards into a new one, as well as a moving wall that reveals the hidden caged animals. I made the lighting in the space transition from blue to red for the progression of tension, which fit with the original concept of the shop hiding a sinister secret. This was later changed to make the game more charming, with animals acting as friendly companions on the job. Simplifying features in consideration of directing the player put me in the mindset of a UI designer, as well as working alongside game artists who produced each character snapshot displayed on cards.
MYSTICAL TOWER DEFENSE
My initial research into graphics for video game icons came from my work on building worlds, where I crafted the narrative concept and Cemetery level of a PC tower defense game filled with fantastical intrigue. Players protect their home base through careful consideration of character units they purchase to join the battle of revenge.
A resurrected army must reclaim their stolen land from villainous mages. The healer unit I coded balances the game to ensure the player is able to recover their wounded soldiers for a better chance at success. The explosive enemy charges at its victims to deal considerable damage, creating dilemmas that require potential sacrifice of units for the sake of the greater good.
I went through several iterations of sketches to propose to my team and decide on the most appropriate layout for the level after receiving feedback. I settled on two paths that spawn differing enemy types, teaching the player to manage their placement of units wisely. The final outcome demonstrates my knowledge of colour theory with the use of greens and purples to create a harmonious palette, alongside thick foreboding fog for a mysterious atmosphere.
COLOUR RUNNER
The first game I ever made! Here I researched and explored platforming techniques to build a fast-paced level filled with gameplay systems revolving around the brief of Colour and Shape.
This game demands players to think quick as they switch between three main colours, matching their character to platforms across the map to advance.
My contributions to the project include the Light Level, themed around glass with a warm setting. I constructed a platform layout that utilised all mechanical elements of the game to produce a simple yet effective experience with differing gameplay routes.
I also developed the code for a glass prism object the player can interact with, activated when within close range. This is a key feature of the level to introduce new possibilities. Playing on the idea of light refraction, the prism glows when ready and shoots a projectile reflecting the player's current colour, altering barriers to allow the player to pass through with ease. This satisfying addition improves the overall systems of the game.
THE GREAT ESCAPE
A game that focuses on the practice of environmental storytelling allowed me to start understanding the use of visual clues for clear communication with my audience to swiftly instruct and guide their journey in the playable space. As a core aspect of UI, this skill was an important stage in my development as a designer.
Set in a secret testing facility, follow the great escape of a captured mutant with the ability to teleport themselves and objects around them. Overcome a series of challenges on each floor of the building by solving puzzles and avoiding enemies, learning more of the true horrors that surround you along the way.
Passwords hidden in books and signs around the intimidating Generator Room I constructed encourages the player to investigate their surroundings. I also made attempts at subtle hints to a past narrative within scenery for a more expansive world.