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THE LANTERN BEARER

Timeline

7 weeks, May through June 2024

Team size

16 game developers

Roles

Product Owner | Level Design | 3C Game Design | Cinematography | Lighting and set dressing

Software

Unreal Engine | Miro | Jira | Figma | Perforce

Trailer video

About the project

Why was it made?

The Lantern Bearer is the third game project made at Futuregames with Unreal Engine. It is an isometric action-adventure with soulslike elements. My responsibilities included worldbuilding, level design from concept through set dressing and technical tools, 3C game design focusing on cinematography, gameplay and dimensions / interactions of the character with the environment, managing the team and documentation.

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My objective was to design a vast landscape and make a camera system which would enhance it's reception, similar to the one from No Rest for the Wicked. I tried using my film experience to focus on building the environment and framing it accordingly to highlight important game elements and interactions.

Gallery of 30 development images

Level Design

Breakdown

I took inspiration from Bloodborne and No Rest for the Wicked when designing the environment of the game. I used lanterns and fire goblets (light sources) for guidance clarity and took advantage of a dynamic camera system. For set dressing I was able to use Dreamscape: Stylized Environment Bundle made by Polyart Studio.​​

Gameplay highlights

  • Drew concept and designed blockouts and set dressed the level.

  • Balanced enemy encounters.

  • Distributed and managed foliage using the foliage tool.

  • Adjusted level atmosphere; lighting, fog and colour grading.

  • Utilized the Landmark method, focusing on the cave's entrance which served as a clear point of interest for the players.

  • Developed technical tools such as a levers, elevator, chests, bridge, doors and goblets to present a variety of interactions using UE5 blueprints.

Technical tools, concepts - Supporting images

  • Created a combat tutorial section with a weaker enemy on an arena which resembles the later found boss arena.

  • Designed a battle arena suited for the boss fight, leaving little space for mistakes and presenting a challenging fight.

  • Designed a "gym" where I tested sizes of assets and designed tool interactions, which I then shared and iterated on with system designers and artist to ensure a clear vision and understanding of dimensions and mechanics.

  • Distributed treasure and pick-ups across the level and used the follow the breadcrumbs methodology to encourage and reward exploration.

Exploration, design gym — Supporting images

Change in scale

Sometimes less is more

Based on feedback, I adjusted the scale of the main area and expanded it, which improved the level’s flow and encounters. This change also altered the direction from which the character approaches the bridge. I switched the direction from right to left to left to right to enhance cognitive ease and reduce cognitive load, creating a natural visual flow that aligns with reading patterns. In both instances shown in the gallery, I utilized the landmark methodology effectively. I used the camera to emphasize the cave’s entrance and designed the environment to ensure the entrance is visible from various parts of the level.

Supporting images 

Problems encountered

And how I solved them

  • Boring enemy encounters

    • Solved by adjusting the size of different areas to allow for for a more challenging and meaningful encounters.​

  • Narrative

    • Due to the rapid nature of game projects like this, the story had to be minimized to environmental storytelling which I tried to implement through small story pieces scattered around the map as well as a little note at the start of the game to paint the picture of our setting.​

  • Pacing

    • Similarly to the encounters, restructuring of the levels and playtesting feedback allowed for an improved gameplay space and additional introduction of new combat mechanics which enhanced the fun and pacing of the game. 

Reflection

For future reference

I enjoyed researching From Software games and Moon Studios’ No Rest for the Wicked. It was interesting to see how they design levels and place encounters to affect gameplay and player progression. I tried to create a similar experience but with a more straightforward approach, giving the illusion of choice. In future projects, I want to focus more on the architectural side of level design, using landmarks and creating cinematic, stunning views through thoughtful design.

Takeaways

Almost finished

  • Make better use of the landscape tool which would allow for smoother transitions between different parts of the level and smoother blend of environments.

  • In a setting that tries to resemble Bloodborne or No Rest for the Wicked level design style, it is crucial to have the areas well planned out. It should be obvious to the player that these different parts are to be explored, hold something exciting to them.

  • Working in a team as large as this again, I tried focusing more on communication and emphasize the collaborative process of development, providing and adjusting to feedback and cross-department dependency which helped create the project.

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