World building & Level design
– Spatial Storytelling
Space as a Narrative Tool:
The lecture emphasized that space shapes emotion, pacing, and memory. From a phenomenological perspective, players do not interact merely with models, but with the fictional world those models evoke. This reminded me to consider how players feel upon entering a scene, how they choose their paths, and how their psychological state shifts as they navigate the environment.
Atmosphere Building:
Lighting, materials, and sound operate as forms of silent storytelling. The campfire example from the lecture—soft light, drifting embers, and moving shadows—demonstrated how subtle environmental cues create a sense of safety and rest. I realised that atmosphere is not decorative; it is integral to player experience.
-Applying Core Level Design Principles
•Flow: Learning the Ki-sho-ten-ketsu four-part structure helped me think about progression not just as movement through space, but as emotional and mechanical development. I began applying this structure in my Art Bible, considering what players should learn and feel in each area.
•Affordances: I gained clarity on how environments communicate possible actions. Material readability, form, and contrast all signal “climbable,” “dangerous,” or “interactive” without explicit text. This understanding now influences my selection of reference images and early visual planning.
•Guidance: Colour, light, and composition subtly direct player attention. When sketching scenes, I plan to prioritise first eye-focus points and moment-to-moment action pathways to ensure intuitive navigation.
•Spatial Orientation: Landmarks, leading lines, framing, and cognitive mapping help players build a mental map. I now recognise how essential this is for open or semi-open environments, where players rely heavily on environmental logic to self-orient.
Group activity: Level Flow map
Based on this week’s flow map exercise, my level progresses from Graveyard → Well → Town → Jail → Cathedral:
•Graveyard (Opening):
Cold, slow-paced, and filled with zombies. This area establishes the world’s danger and sets an unsettling tone.
•Well (Hidden Path):
The underground passage uses darkness, echo, and narrow geometry to evoke claustrophobia and tension—an example of spatial storytelling through sensory restriction.
•Town (Central Area):
A fragmented remnant of past civilisation. Light pools and open structures guide movement, while the environment hints at failed revolutionary attempts.
•Jail (High-Pressure Zone):
Tight corridors and repetitive cells create oppression, reflecting the unstable sociopolitical atmosphere of the world.
•Cathedral (Final Area):
High ceilings, long reverberation, and focused light create a sacred, hopeful atmosphere. As the narrative’s climax and resolution, it symbolises the world’s spiritual and revolutionary core.
The spatial rhythm mirrors Ki-sho-ten-ketsu: introduction of danger → development through exploration → twist with the boss encounter → conclusion in the sacred sanctuary.
World Building activity:
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