Project C

(All Art, SFX and Animations etc. are placeholders)

Role: Game Director, Project Manager, Programmer and Writer

Tools: Unreal Engine 4, WWise

Team: 5
 

Contributions:

  • Game, Level and Narrative Design

  • Game Director

  • Project Management

  • Blueprint & C++ Programming

  • Story & Cinematics

About

Project C is a Narrative Driven First-Person Puzzle Platformer with a Time Manipulation Mechanic that plays like a blend of Portal, Quantum Conondrum and Braid which sees you solving Time and Physics-based puzzles by Slowing, Pausing and Rewinding Time. 

The game takes place in Ancient mysterious Ruins beneath a great Mountain. 

Its First Section is complete with 14 Levels designed to naturally teach the player the Mechanics and Components of the game while keeping both their wits and skills challenged. 

This project is what best represent my skills as a Game, Level, Narrative and Technical Designer as I've Designed, Programmed and Written everything.

Complete Walkthrough
(Art, SFX, Music and Animations are all placeholders.)
Highly Recommend playing it first to get a better understanding of the design by solving the puzzles yourself.
 

Gameplay

Slow

Slow Down Time for puzzle solving and platforming

(Hover Over for More)

Rewind

Rewind Time to traverse the environment and activate components again. 

(Hover Over for More)

Pause

Pause Time to use objects as platforms or re-direct their velocity. 

(Hover Over for More)

Puzzle Components

The games most basic components used for building the puzzles.

(Hover Over for More)

 

Design

The Game Design

The game started as a Project where i researched about Tutorials in Video Games. ...


  • The game leaned early on to something in First-Person as I was the sole developer and couldn't rely on characters and animations etc. and wanted to showcase interesting design.
  • I had an old idea of Rewinding and Fast forwarding time and manipulating objects during their different states, so I did research with this in mind and got a lot of inspirations in terms of Level Design and Puzzle Components, mainly from Portal and Quantum Conundrum.
  • I brainstormed with the components and mechanics in mind to get a sense of the amount of variations of puzzles that could be made by combining them with each other.
  • I then prototyped the Mechanic and some Components and saw the potential and decided to continue.





Ideation

The game started as a Project where i researched about Tutorials in Video Games. ...


  • The game leaned early on to something in First-Person as I was the sole developer and couldn't rely on characters and animations etc. and wanted to showcase interesting design.
  • I had an old idea of Rewinding and Fast forwarding time and manipulating objects during their different states, so I did research with this in mind and got a lot of inspirations in terms of Level Design and Puzzle Components, mainly from Portal and Quantum Conundrum.
  • I brainstormed with the components and mechanics in mind to get a sense of the amount of variations of puzzles that could be made by combining them with each other.
  • I then prototyped the Mechanic and some Components and saw the potential and decided to continue.





Re-Imagining

The Original Prototype.
Inspirations for the Original Prototype
The Intro Flashback Concepts
The World and Ruins Concepts

Shortly after she picks up the device and inspects it ...


a loud sound can be heard in the distance from the Mountains.

  • The camera shakes and pans upward as she looks up at it.
  • The camera Dolly Zooms toward the mountains top, making it appear bigger so the player can clearly see a bright blue light shimmer through the swirling clouds, the same kind of light the pendant has.
  • The camera switches to a top-down perspective as she is looking up.
  • It moves in close to her face to show her expressions and eyes as she realizes where she needs to go, where she will find her answers.





The Art Style

The Game Play

In order to fade in a Memory Flashback in a natural way ...


the character had to be put in a position of waiting or reflection, where their mind could naturally wander so we can explore her mind.

  • This is why the tower is so tall so I had a long time for the shots that first showes the Ruins they've traveled through and then a long closeup of her face as she is holding the pendant.
  • As she holds it tightly she looks up toward the sky through the windows and then closes her eyes and nods down and thinks of that day when her brother disappeared and how she found it.
  • This action of looking upward, as if she is looking for answers and then closes her eyes and nods down makes the white fade out into her memory more natural.





Time Manipulation Device Concepts

The Level Design

Level 3 - From Sketch -> White Box -> Concept -> Block out
I usually clean up the First-Draft Sketch in Photoshop if time lets me
Level 5 - Tomb Area
I usually clean up the First-Draft Sketch in Photoshop if time lets me
Level 9 - Transition From Dark to Natural Light Sky lit and the Courtyard that follows.
I usually clean up the First-Draft Sketch in Photoshop if time lets me

The Approach To Level Design

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





Sightlines, Leading Lines & Framing

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





(Hover Over for More)

The Tutorial Design

Intro to Slow-Motion

The game started as a Project where i researched about Tutorials in Video Games. ...


  • The game leaned early on to something in First-Person as I was the sole developer and couldn't rely on characters and animations etc. and wanted to showcase interesting design.
  • I had an old idea of Rewinding and Fast forwarding time and manipulating objects during their different states, so I did research with this in mind and got a lot of inspirations in terms of Level Design and Puzzle Components, mainly from Portal and Quantum Conundrum.
  • I brainstormed with the components and mechanics in mind to get a sense of the amount of variations of puzzles that could be made by combining them with each other.
  • I then prototyped the Mechanic and some Components and saw the potential and decided to continue.





(Hover Over for More)

(Hover Over for More)

Intro to Throw

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





Intro to Pause

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





(Hover Over for More)

(Hover Over for More)

Intro to Rewind

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





The Narrative Design

The Premise

In order to fade in a Memory Flashback in a natural way ...


the character had to be put in a position of waiting or reflection, where their mind could naturally wander so we can explore her mind.

  • This is why the tower is so tall so I had a long time for the shots that first showes the Ruins they've traveled through and then a long closeup of her face as she is holding the pendant.
  • As she holds it tightly she looks up toward the sky through the windows and then closes her eyes and nods down and thinks of that day when her brother disappeared and how she found it.
  • This action of looking upward, as if she is looking for answers and then closes her eyes and nods down makes the white fade out into her memory more natural.





The Character

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





Main Characters Concepts

The Theme

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





The Structure

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





The Storytelling

2D Flashback Memory Sequences

The game started as a Project where i researched about Tutorials in Video Games. ...


  • The game leaned early on to something in First-Person as I was the sole developer and couldn't rely on characters and animations etc. and wanted to showcase interesting design.
  • I had an old idea of Rewinding and Fast forwarding time and manipulating objects during their different states, so I did research with this in mind and got a lot of inspirations in terms of Level Design and Puzzle Components, mainly from Portal and Quantum Conundrum.
  • I brainstormed with the components and mechanics in mind to get a sense of the amount of variations of puzzles that could be made by combining them with each other.
  • I then prototyped the Mechanic and some Components and saw the potential and decided to continue.





3D In-Engine Third-Person Cutscenes

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





The First-Person Cutscenes

Shortly after she picks up the device and inspects it ...


a loud sound can be heard in the distance from the Mountains.

  • The camera shakes and pans upward as she looks up at it.
  • The camera Dolly Zooms toward the mountains top, making it appear bigger so the player can clearly see a bright blue light shimmer through the swirling clouds, the same kind of light the pendant has.
  • The camera switches to a top-down perspective as she is looking up.
  • It moves in close to her face to show her expressions and eyes as she realizes where she needs to go, where she will find her answers.





 

Cinematics

Here I break down the most Important Cinematics and the thought process behind them.

Since it is all made with placeholder art, animations etc., they are intentionally a bit slower paced than what the final versions will be since I find it easier to trim down a shot and make it faster paced when you have the final art compared making a shot slower paced and longer. 

In the game you can turn on/off the Cinematic References and Descriptions.  

NOTE Some of these cutscenes are out of date as they has been revised, this page will be updated soon

Opening Cinematic

Goal of the Cinematic

The Goal of the Cinematic is to give a soft introduction to the world and character as well as give a small hint at what the character is doing there.

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





Opening Cut Scene
(Art, SFX, Music and Animations are all placeholders)
Focus Transitions softly from the World to the Character. 
I utilize References to communicate concepts and ideas.
The Style of the Third-Person Cutscenes are a bit similar to MGSV where the camera almost acts as a person that is following and observing the Main Character throughout the game events.

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





The Transition to First-Person

The Mountain


  • Shows the Mountain in its normal state to the player, this becomes relevant shortly later when events unfold.
  • From here the camera acts more as a character that follows the player and observes their action and is thus much more intimate with the character with close-ups.




Hint at why she is there.


  • As the Character Kneels down in front of the Entrance She pulls out a old worn picture of a small boy.
  • The Memory previous to this entire cutscene featured a small boy and hinted that something terrible may have happened to him.
  • This is to connect this character with the boy and to hint that she may be looking for him or something similar.




The Pendant


  • The character has a mysterious pendant around her neck. It reacts to the Entrance which opens it up.
  • This is to show that the ruins is not anchored in reality so when unnatural things occur within them they player will not feel any form of disconnect.





The cut scenes transition softly into game play, this along with no loading screens creates a more seamless experience.

The Pedestal Cinematic

Pedestal Cut Scene
(Art, SFX, Music and Animations are all placeholders)

Goal of the Cinematic

 The goal was for the character to Receive the Time Manipulation Device and by doing it, re-awakens the Ruins and getting a Hint to the overall End Objective.

Power Lines act as Leading Lines to guide the players eye toward ...


the direction they are supposed to go.

  • The player often have clear Sight Lines to the end goal of the level and the leading lines make sure the players see it.
  • Pillars and such are used for Framing to also aid the player into seeing the goal when they have a sight line toward it.





Transitions from Game play into Third Person Cut Scene

The Time Manipulation Device

The next shot switches back to the over the shoulder view ...


where we see the pedestal open up and reveal the device within. The camera pans behind her back to the other shoulder, to Hide when she picks up the device, to cut down on custom animations.

  • This is also so the camera has a clear shot of the mountain top with just a bit of pitching.





Pedestal Open, revealing the Time Device. Something at the Mountains Top Reacts to her presence, hinting its the End Goal

The Mountain

Shortly after she picks up the device and inspects it ...


a loud sound can be heard in the distance from the Mountains.

  • The camera shakes and pans upward as she looks up at it.
  • The camera Dolly Zooms toward the mountains top, making it appear bigger so the player can clearly see a bright blue light shimmer through the swirling clouds, the same kind of light the pendant has.
  • The camera switches to a top-down perspective as she is looking up.
  • It moves in close to her face to show her expressions and eyes as she realizes where she needs to go, where she will find her answers.





Transitions from what we last saw her looking at to First-Person

The Tower Cinematic

The Tower Cut Scene
(Art, SFX, Music and Animations are all placeholders)

Goal of the Cinematic

The goal was to give the player a natural transition from the current Section to the next one and get to see the Ruins that they've traversed through from a new perspective which could give them a better overview of the size of the ruins and a feeling of accomplishment. 

I also wanted to present in the Second Memory here in a natural way.

Transitioning Into Memory Flashback

Shortly after she picks up the device and inspects it ...


a loud sound can be heard in the distance from the Mountains.

  • The camera shakes and pans upward as she looks up at it.
  • The camera Dolly Zooms toward the mountains top, making it appear bigger so the player can clearly see a bright blue light shimmer through the swirling clouds, the same kind of light the pendant has.
  • The camera switches to a top-down perspective as she is looking up.
  • It moves in close to her face to show her expressions and eyes as she realizes where she needs to go, where she will find her answers.





A Shot of the Ruins the player has traversed but from a new perspective. Long close up of the girl as she is holding the pendant tightly and thinks back to the day she found it.