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Made on a freelance contract and government supported boot camp, with Infinity27.
Amira's Plight
Made for Samsara, coming to early access December 2024.
Responsibilities
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Drawing inspiration from Zelda and From Software to deliver a classic dungeon that feels like it could be out of those games, with an emphasis on verticality and player choice.
Level Design
Interweaving the level and quest into one experience. Using tools to manage progression.
Quest Design
Including dialogue writing, character creating, and crafting a full story with a notable twist and morale dilemma, in 10 minutes of gameplay.
Narrative Design
Researching and ensuring that every inclusion fit with the wider game, respecting Infinity27's goals and themes.
Respecting game goals
While my work was individual, I had to explain and describe it to the dev team, other learners, and pitch it online at the end of September.
Presenting
Role(s)
Level Designer, Quest Designer, Narrative Designer. Employed Freelance.
Team Size
1 Working on this quest,
1 Design mentor,
4 other freelance designers,
A full team I could ask support from
The Background
Infinity27 is an indie company that offers government funded skills bootcamps in game design, to create content for their game, Samsara.
I had to concept, iterate, and pitch an idea to my mentor, that enhances and suits the game, then implement it in engine, with frequent access to feedback and specialised lectures. As a big souls fan, my dungeon was designed to honour the series.
This lasted across September, full time, and afterwards I received a freelance contract to continue my work, so it could be properly included in the full game.
Genre
Souls-like action game
Duration
September 2024 - February 2025
The Project
After stumbling across a hidden cave, you descend into its unsettling depths, only to find a childish deity named Amira, who asks you to scare away the monsters from her temple.
The dungeon can has several paths that intersect, each leading to strange statues that can be found in any order. Each one takes you to a different height in the central chamber, before looping back around to Amira. There are ambushes and secrets aplenty, varied encounters, loops, shortcuts, dangers, and multiple endings.
Details
I was reminded of Level Design techniques I had slowly begun to neglect. For instance, shape & colour theory, leading lines, and framing. In every beat of the level I spent a lot more time on composition (the arrangement of scene elements to convey emotions or information), finding shots and going through a list of techniques.
Additionally, I had a lot of issues with metrics, as I was still getting used to the camera and controller. Much of the level was made too narrow, hurting progression as it was consistent, and making some sections too tedious. Every now and then I went through the level with measuring tools, pushing back certain walls, without losing the many intersecting paths.
Other techniques I was able to test and thankfully didn't forget, such as signposting, beat sheets, flow charts, timelines, teasing, bubble diagrams and "the Jesus Christ effect" as Christopher Totten calls it.
Recapping level design fundamentals
It was refreshing to work in an environment where I was low in the hierarchy, being able to learn from the full development team. I joined daily stand-ups, watched sprint meetings, learned new software like Perforce and Hansoft, received frequent support, and had access to all of the company's tools and documentation. I found Infinity'27s Level Of Fidelity (LOFs) very interesting, as they were checklists for each discipline to remain aware and focussed on their work.
I also picked up a number of good practices (Hansoft cards templates, when to submit changelists, efficient stand-up answers), and enhanced ones I already liked (naming conventions, understanding file structures, documentation through Miro).
Working in a professional company.
Due to working freelance, with a loose task and deadline, I was able to be flexible and test out the most efficient ways I work. I set aside certain days a week to work on the project, while adjusting depending on progress tracked through hours and tick lists.
Most solo projects I've determined the success criteria, but it was reassuring to have them determined externally.
Self-management
Lessons Learned
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Links & Tools
Pre-Production
Production
Post-Production
Gallery
Charles Django
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