Entering an environment for the first time is always a crucial moment in a game’s internal life. Information needs to be delivered to the player in some way so that the player both understand what the “space” is about and what to do with it. The information given doesn’t have to be presented in an “in your face” manner each time, the level designer can place clues that are slightly off-screen or above and behind the player to vary the pacing of the game.
Here we can see that the door is half opened. I don’t necessarily think this originated from the level designers, but probably by the level builders with instructions from the lead narrative team or the game director himself (in this case Ken Levine). It may or may not represent something important, but the simple fact of having the door slightly opened fires all sorts of questions in the player’s mind: was somebody just there? Why is the door opened? Shouldn’t it be closed? If I go in there… will something get at me? The developers are slowly setting the mood.
Here we can see that the door is half opened. I don’t necessarily think this originated from the level designers, but probably by the level builders with instructions from the lead narrative team or the game director himself (in this case Ken Levine). It may or may not represent something important, but the simple fact of having the door slightly opened fires all sorts of questions in the player’s mind: was somebody just there? Why is the door opened? Shouldn’t it be closed? If I go in there… will something get at me? The developers are slowly setting the mood.
The inside of the lighthouse features setting cues (large statue, inscriptions at the base of the statue). Even though the job of the level designer is more about creating the space required for the large statue prop to fit in I can’t pass by the very intelligent placing of Andrew Ryan’s bust. The development team could’ve simply placed the eyes of the statue slightly above the player’s eyes so that it’s the first thing that he sees while entering the lighthouse. Instead, the statue looks down on the player placing the unknown character (for the player at this moment in the game) in a clear position of superiority. I understand the philosophy of Irrational Games of letting the player control as much of the game as possible, but while waiting for the lights to power on the player might completely miss the opportunity of seeing this center piece. It is this important to the game? My answer would have to balance between yes and no as it is mostly an “atmosphere inducer”.
Here’s how I personally would’ve scripted this moment:
1. As soon as the player enters the room start a sequence to close the door.
2. Sync a flickering light right above the inscription at the base of the statue have it fully lit when the door close.
3. When the player approaches the inscription have the main top light power on.
4. If the player decides not to walk directly to the inscription but take the sides have the main top light power on.
5. Half way through the middle of the room have floor light opening leading to the two doors.
1. As soon as the player enters the room start a sequence to close the door.
2. Sync a flickering light right above the inscription at the base of the statue have it fully lit when the door close.
3. When the player approaches the inscription have the main top light power on.
4. If the player decides not to walk directly to the inscription but take the sides have the main top light power on.
5. Half way through the middle of the room have floor light opening leading to the two doors.
The next thing I noticed is the choice made by the level designers to have two openings leading to the lower floor. This is a very common technic used by LDs and is simply called “the illusion of choice”. Here’s what I think goes on behind the process of the “illusion of choice”:
1. “Two paths… hum let me choose one”.
2. Player makes a choice and takes path A.
3. Does the choice have any relevance on the game’s progression? No.
4. Did the level designer created some sort of interactive moment. Yes (he fired a decision making protocol inside the player’s head).
1. “Two paths… hum let me choose one”.
2. Player makes a choice and takes path A.
3. Does the choice have any relevance on the game’s progression? No.
4. Did the level designer created some sort of interactive moment. Yes (he fired a decision making protocol inside the player’s head).
The next sequence sees the player going down in a sort of submarine (called the bathysphere) and interacting with a lever to activate a long scripted sequence. Even though the sequence is scripted the player still retains complete control of his camera movement.