合金装备式非线性潜行关卡
中国大陆点此观看 link for mainland china
关卡策划
设计主要强调了多重解法和易于理解的关卡结构，并且让每一条解法带来正交意义上不一样的体验，让它成为真正的三条不一样的线，而不是看似非线性实际上带来雷同的体验。
让玩家在各种路线之间无缝切换，产生自由感和玩家选择权。
个人制作
引擎：Unity
美术资源：Unity Asset商店 & 自制Blender模型
人物模型：Mixamo
吉卜力风格的“死亡搁浅式”飞行游戏
中国大陆点此观看 link for mainland china
关卡，叙事策划，声音设计
在一个被洪水淹没的世界中，
人类孤独地生存在列车上。
这里没有终点，没有时间，也没有生命。
你将：
扮演灵魂引导者赫尔墨斯，负责收集遗迹中遗留的信件，并将它们送到穿越广阔海洋的列车上。
飞行、滑翔并探索被遗忘的遗迹：
在水面上滑翔，穿梭于高耸神秘的结构之间，这些是被时间遗忘的世界遗迹。
梦境：
沉浸在一个超现实的世界中，伴随着根据你行为而变化的交互式音乐。
制作名单
我: 关卡设计 / 叙事设计 / 声音设计
高存希: 环境艺术 / 关卡设计
Samuel Fletcher: 角色艺术
Aman kapoor: 程序开发
Antonio Andrade: 程序开发
创造出一个在产生强烈自由感的同时，可以为玩家提供清晰引导的关卡。
面临的挑战
在一款以飞行和滑翔为核心的游戏中，玩家可以自由地探索多个方向。然而，这种自由有时可能会导致他们偏离预定路径或游戏目标。
解决方式 1 - 广阔的边界设计
设计一个广阔的边界，使玩家感觉自己在一个定义明确的区域内，鼓励他们留在主要的游戏区域。虽然玩家可以飞出这个边界，但其围墙的形式自然地倾向于让他们留在边界内。这种设计在保持自由感的同时，提供了微妙的引导，让玩家保持在正确的行动范围内。
解决方式 2 - 去中心化与对称布局
为了防止玩家飞向不想去的区域并需要回溯，关卡采用去中心化和对称布局，同时确保地图看起来像是一个合理的，仿佛真实世界的结构。将巨大的空间放置在中央，以提供视觉地标，作为参照点，当玩家看到这些地标时，他们可以轻松判断自己的位置。
轨道和桥梁构成了线性的路径，引导玩家前进。就像在现实世界中一样，当玩家迷失方向时，沿着铁路前行会引导他们到达道路与桥梁，并帮助他们找到方向。
解决方式 4 - 目标规模对比 为了使目标更明显，使火车的比例相对于角色模型大幅增加，确保其在玩家经过时几乎总是可见。这也创造了对比感强烈的视觉效果，使游戏风格更加鲜明。
目标对于引导玩家至关重要。在任何时刻，地图上都能看到三个目标供玩家收集。一旦收集完毕，会生成一组新的三个目标。这确保了目标数量保持恒定但易于管理。也控制了剧情的推进节奏，让玩家不会一次性收集完所有的信件。
类银河战士恶魔城的影响
受银河战士恶魔城类游戏的启发，一些目标在初期是无法到达的，这激励玩家学习和掌握游戏机制，以便最终到达这些目标。
1. 初始引导
在玩家生成位置附近放置一个可收集物品，立即引导玩家。当他们与该物品接触时，会获得第一封信，介绍游戏的主要目标。
2.长期目标
将一个物品放置在游戏世界的最高点，以吸引玩家的注意力，并设定一个长期目标。
3. 视觉强化
当玩家到达地图的另一侧时，他们将再次看到这个高处的目标，但现在有一条明显的路径通向它。路径上的一个额外目标强化了这条路径是正确的方向。
4. 引入次要目标
在建筑物的孔洞内放置目标，鼓励玩家飞过这些孔洞。当他们这样做时，声音效果会提供反馈，将这种次要的游戏玩法与目标联系起来，提示玩家探索类似的区域，暗示可能存在的目标。
在我们的游戏中，资产不仅仅是美学元素，它们还具备多重功能：
- 例如，桥梁被设计为创造供玩家飞过的负空间，同时也提供引导方向的表面。
- 通过将多个桥梁放在一起，我们创造了多条路径，允许玩家在同一地区进行多样化的自由路径选择。
游戏中的建筑被设计为互动元素，拥有多个大大小小的负空间供玩家飞行穿梭和攀爬。
这些负空间具有自然的吸引力，通过在其中放置目标或使目标在这些空间中可见，鼓励玩家在探索的过程中保持明确的引导，同时享受自由风格的游戏体验。
把关卡设计得像一个滑板公园，提供了清晰的路径，同时也鼓励创造性的互动。
虽然存在明显的导航路线，但玩家可以自由探索其他方式，从而使关卡富有趣味性并具有重玩价值。
2D 二次元主题坑向硬核平台跳跃游戏
中国大陆点此观看 link for mainland china
关卡策划，程序
关卡布局和难度曲线设计
我基于跳跃参数设计了关卡布局、难度曲线和潜在的速通路线。引导玩家逐步熟悉陷阱的分布，提升他们的技能，使游戏既具挑战性又富有成就感。
融入ACG文化与营造幽默氛围
我将ACG（动画、漫画和游戏）文化中的流行梗融入到关卡设计中，比如《原神》图标、宫崎英高的照片，以及经典动漫中的名场面。我将这些元素与幽默的声音设计结合，营造出一种幽默诙谐的氛围。
制作名单
我：游戏设计/关卡设计/编程/美术
董雨亭：声音设计/音频
设计一个非常困难的硬核平台跳跃关卡，但同时让玩家在挑战游戏时保持兴趣并感到快乐。
大体流程
1. 根据理想的玩家路径设计基本的关卡布局。
2. 添加基本的尖刺作为操作和灵活性挑战。
3. 放置陷阱并将其分布在关卡中。
4. 放置障碍物，以防止玩家偏离标准路径，并创建一个更具挑战性的速通路径。
5. 组合并测试不同类型的陷阱，以挑战玩家的预期。
6. 通过游戏测试细化细节，寻找潜在的Bug。添加美术素材和声音效果以测试最终效果。
7. 关卡完成。
整个关卡设计的关键在于颠覆传统设计的常见认知。
例如：
1. 当游戏开始时，玩家会本能地尝试跳过第一个尖刺，预期它是静止的。
2. 然而，尖刺突然移动并击杀了玩家。
3. 这一刻改变了玩家的认知，从“尖刺是静止的”变为“尖刺会移动”。
4. 因此，关卡的氛围从单纯地跳过尖刺转变为如何智胜这些狡猾且非传统的陷阱。
5. 玩家通过关卡的第一个陷阱学到了这一点。
在关卡中分布了7颗原石，每颗原石都设计成以不同的方式欺骗玩家。当第一个原石从游戏框架外飞入时，玩家会认知到：
- 原石很危险。
- 他们需要对其他原石保持警惕。
两颗原石在底部部分可见，像是一个隐藏的惊喜。
玩家会想：
- 这些原石会像第一个那样行动吗？
- 我要小心点。
底部的原石没有移动，但从上方落下的一颗原石击杀了玩家，伴随着 “原神” 的音效。
这个音效是来自《原神》社区的一个著名梗的前半部分。完整的梗是“原神，启动！” 熟悉这个梗的玩家会预期接下来听到 “启动” 这部分，从而增加了紧张感和幽默感。
玩家预料到了下一个原石的出现，但它的速度加倍了，使玩家措手不及。即使在多次死亡之后，玩家仍然常常忘记这个陷阱。
这次， 原石静止不动，但是给玩家带来了心理压力。
当玩家被一个缓慢的敌人追赶时，出现了一颗原石。虽然它没有移动，但发出了危险的信号，让被追逐的玩家感到焦虑。
静止的原石和小型尖刺的组合形成了一个中等难度的挑战。
它在陷阱和跳跃障碍之间起到平衡作用，使游戏玩法保持有趣，同时不会因持续的陷阱而让玩家感到游戏过于恶意。
在关卡的接近尾声处，原石的图像一直在抖动，引起玩家的注意力，此时离胜利已经很近了。
然而，它实际上并不会做什么。相反，当玩家专注于原石时，另一个陷阱突然出现，以一种意想不到的方式给玩家带来惊吓。
通过以各种方式使用同一个物体，我创造了不同的游戏体验 。
当玩家最终通关时，他们会感受到强烈的成就感，因为在这个过程中，他们提升了自己的技能并加深了对游戏的理解。
道具通常是有证明作用的，但在这个游戏中，它们诱使玩家去查看里面有什么，结果却触发了陷阱。这颠覆了玩家的预期，让他们时刻保持警惕，并产生喜剧效果。
追击威胁
当一个缓慢移动的敌人追赶着玩家时，会制造一种紧迫感。即使速度很缓慢，玩家仍然会感到紧张，更容易犯错，最后因为自己的低级失误失败，也是一种有趣的关卡效果。
稀缺的存档点
在整个关卡中只有一个存档点，随着玩家的推进，紧张感逐渐加剧。当他们接近关卡末尾时，焦虑感增加，每一个动作都显得更加关键。
为了避免让玩家感到过于困难，平台跳跃元素如跳过尖刺的设计有一定挑战性但不是过于困难。这样使关卡的陷阱和基础挑战达到一种较好的平衡，使关卡既有趣又有挑战性，给玩家带来成功的信心。
无伤害惊吓
一些陷阱被设计成会吓到玩家，但不会造成实际伤害。这些惊吓常常会导致他们自己恐慌而犯错，从而在没有直接伤害的情况下巧妙地击败他们。
恰当使用梗
选择适当的梗来匹配游戏的搞笑氛围，增强整体的氛围并增加幽默感。使用一些经典的老梗和时下流行的新梗可以让游戏和玩家的情感联结更强。
科技哲学主题的3D侦探与步行模拟游戏
关卡，叙事策划，声音设计, 场景美术，程序
游戏探讨了人工智能、意识、自由意志、后人类主义、技术决定论、模拟理论、监控系统等科技哲学主题。
我是该项目的创作者，担任了制作人、设计师、系统设计师、叙事设计师、关卡设计师、编剧、场景美术和程序。
我的职责包括：
- 设计封闭的关卡布局、游戏节奏和演出效果，以增强关卡内的叙事氛围和戏剧张力。
- 使用UE5的Lumen功能将当代和经典艺术元素融合到3D空间设计中。
- 与角色设计师合作构思角色。
- 挑选来自多个流派的音效和音乐，以建立一个独特的未来主义和氛围感的游戏体验。
我：关卡/叙事/声音/场景美术/程序
张竞元：角色设计
我认为空间本身是一种强有力的叙事工具，可以构建特定的情感。我将我在博物馆中看到的艺术融入游戏中，以在现实与游戏中的构建体验之间建立
联系。
暗房
- 我在墙上放置了两幅雷内·马格利特的画作，因为他的作品与游戏质疑现实与表现之间界限的主题相契合。
- 左边的《被威胁的刺客》画作设定了游戏的超现实基调，并暗示故事围绕谋杀展开。
- 《虚假的镜子》注视着玩家，营造出一种被监视的感觉。
- 桌子反映出眼睛，进一步强化了神秘的氛围。
教堂办公室
- 我认为技术像宗教一样影响着世界，所以我决定基于教堂设计一个场景。这一灵感来自安藤忠雄的《光之教堂》。
- 我通过将其转变为办公室来使其陌生化，并将这些办公室内的角色塑造成类似于神职人员的形象。
- 使用混凝土材料使场景感觉理性且冷酷。
- 阶梯被设计成双螺旋结构，象征着DNA的结构，这也暗示着人类正在进化为一种数字化的存在形式。
- 五十年后，人们将如何互相交流？
- 头戴设备将使人们能够生活在几乎像第二个现实世界的网络空间中。人们将更频繁地去网吧，作为逃避现实的一种方式。
走廊
- 我将网吧的内部其设计成未来的监狱，象征着人们主动将自己与现实和他人隔离开来。
- 当玩家发现尸体后，隧道中的灯光转变为白色。在此之前，它类似于夜间俱乐部的灯光，光线的转换将空间塑造成了“另类的空间”。
- 受美国艺术家詹姆斯·特瑞尔的作品和电影《银翼杀手2049》的启发。
- 我将马格利特的《戈尔贡达》放在了墙上，为房间增添了一种超现实和神秘的氛围。
-
这间房间没有窗户，进一步让它看起来像一个现代的牢房。
-
橙色的灯光营造出一种温暖而有冥想感的氛围。
- 家具的质感和混凝土材料让房间显得冷峻和，而橙色的灯光和血迹则让房间变得温暖。
- 这种冷暖交织的感觉，创造了一个非常特殊的“另类空间”。
在我对AI助手的设计中，与常见的将AI高度拟人化的趋势不同，而是选择了一种更具机械感的方式。这一选择为游戏增添了一个元叙事的层面，揭示了一个可能由人工智能主导的未来社会。
Oli - 未来科技精英
将他设定为一个强大的黑人，作为对许多行业中普遍存在的白人至上主义的一种抵抗形式。
Engineer - 死者
灵感来源于耶稣的钉十字架和死亡。这种宗教象征不仅提出了技术精英的隐喻，也提出了关于这些人物与技术的二元性的问题：他们对于人类和我们的世界来说是好是坏？
Jiang - 坎普艺术家
用来揭露当代艺术世界的秘密，揭示上流社会中的权力动态和掠夺性文化。
Ronaldo - 全知全能管家
在这个未来里，性别不再是一个决定性因素。我打算创造一个强大的角色，让玩家忘记传统的性别概念。
我致力于创造可以长期留存在玩家记忆中的独特的体验，我从各种形式的媒体中汲取灵感，将其转化为前所未见的内容，使用游戏作为媒介传递出来。
世界观设计
寻找一个大的概念或主题，并基于此构建世界。《神、人类、动物、机器》这本书启发我思考50年后的世界将会是什么样子，并据此制作了本游戏。
角色作为叙事方法
角色是精炼理念的视觉表达。他们的互动揭示了不同意识形态之间的冲突。我喜欢研究和确定定义这些角色的符号学和符号的过程。
故事设计
为了激发玩家对故事的好奇心，我专注于不断制造紧张感。这是一个积累张力然后释放紧张的过程，以保持玩家的参与感。
音乐
我喜欢融合多种音乐风格，从金属和实验音乐到古典和爵士，以创造一种独特的体验与平行对比，这些平行对比是讲故事的有力工具。
Ghibli Style “Strand Type” Flying Game
中国大陆点此观看 link for mainland china
Level, Narrative, Sound Designer
In a world that had been flooded,
humanity survived in trains,
alone and divided.
This place has no end, no time, and no life.
In this game, you will:
Play as Hermes, the Psychopomp, tasked with collecting letters left around the ruins and delivering them to trains running across the vast ocean.
Fly, Glide & Explore Forgotten Ruins:
Glide across waters and weave through towering, enigmatic structures, relics of a world lost to time.
Dreamland:
Immerse yourself in a surreal world, accompanied by a dynamic soundtrack that responds to your exploration.
Credit
Me: Level Design/Narrative Design/Sound Design
Cunxi Gao: Environmental Art/Level Design
Samuel Fletcher: Character Art
Aman kapoor: Programming
Antonio Andrade: Programming
Create a level that evokes a strong sense of freedom while providing clear guidance to direct the player.
Challenege
In a game centered on flying and gliding, the player has the freedom to explore in multiple directions, which can lead to deviation from the intended path.
Solution 1 - Broader Border
Design a broad boundary that makes the player feel within a defined area, encouraging them to stay within the main gameplay zone. While the player can fly beyond this border, its large form naturally inclines them to remain inside.
Solution 2 - Decentralized & Symmetrical Layout
To prevent players from flying to an unintended area and needing to backtrack, the level is decentralized and symmetrical, while ensuring the map feels like a well-organized structure.
Monumental spaces are placed centrally to provide visual landmarks, offering a reference point, so when players see the monuments, they can easily gauge their position.
Rails and bridges create linear paths that guide players. Much like in the real world, when players are lost, following the railway will lead them to bridges and help them find their way.
Solution 4 - Scale of the Destination
To make objectives more noticeable, the train is scaled significantly larger than the character model, ensuring it's almost always visible when passing by. It also creates a contrasty visual effect that make the game more stylized.
Objectives are crucial for guiding players. At any given time, three objectives are visible across the map for the player to collect. Once collected, a new set of three spawns. This ensures a constant but manageable number of objectives.
Metroidvania Influence
Inspired by Metroidvania games, some objectives are temporarily unreachable, enticing players to learn and master game mechanics as they strive to reach them.
1. Initial Guide
Place a collectible near the player spawn location to immediately guide players. When they collide with this object, they receive a letter, introducing the main goal of the game.
2. Long-Term Goal
Position an object on the highest point of the game world to capture the player's attention and set a long-term objective.
- Visual Reinforcement: When the player reaches the other side of the map, they’ll see this high objective again, but now with a visible route leading to it. An additional objective on this path reinforces that it’s the correct way.
3. Introducing Secondary Objectives
Place objectives within the holes of buildings, encouraging players to fly through them.
When they do, sound effects provide feedback, linking this secondary gameplay method with the objectives, nudging players to explore similar areas, signaling possible objectives.
In our game, assets are designed to be more than just aesthetic elements — they serve multiple functions:
- For instance, bridges are crafted to create negative spaces for players to fly through and also provide surfaces that guide navigation.
- By placing multiple bridges together, we create numerous paths, allowing for varied navigation through the same area.
The buildings in our game are designed as interactive elements with multiple small and large negative spaces for players to fly through and climb.
These negative spaces are naturally appealing, and by placing objectives within or visible through them, players are encouraged to explore while maintaining clear guidance and a freestyle of gameplay.
The levels are designed like a skatepark, offering clear paths but also encouraging creative interaction.
While there is an obvious way to navigate, players have the freedom to explore alternative approaches, making the levels engaging and replayable.
2D Masocore Platformmer
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Level Designer, Programmer
There are many types of 'I Wannas,' and I view mine similarly to a Dark Souls game: the designer creates traps to challenge the players, and the players find enjoyment in overcoming these obstacles."
Level Layout and Difficulty Curve Design
I designed the level layout, difficulty curve, and potential speedrun routes based on jump parameters. I also guided players to gradually familiarize themselves with the trap distribution, enhancing their skills and making the game feel both challenging and rewarding.
Incorporating ACG Culture and Creating a Humorous Atmosphere
I integrated popular memes from ACG (Animation, Comics, and Games) culture into the level design, such as Genshin Impact icons, a photo of Hidetaka Miyazaki, and quotes from classic anime series. I combined these elements with humorous sound design to create a playful atmosphere.
Credit
Me: Game Design/Level Design/Programming/Art
Yuting Dong: Sound Design/Audio
Design a platformer level that is very difficult but will keep players interested in challenging the game and entertained.
General Procedure
Step 1. Design basic level layout based on ideal player path.
Step 2. Add basic spikes as input and dexterity challenge.
Step 3. Place traps and distribute them into the level.
Step 4. Place obstacles to prevent players deviate from the standard path, and create a more difficult speedrun path.
Step 5. Combine and test different types of traps to play with player expectation.
Step 6. Refine details through playtesting, looking for potential bugs. Adding art and sound effects for final results.
Step 7. Level complete.
The key to the entire level design is subverting common perceptions of traditional designs.
For example:
1. When the game begins, the player will instinctively try to jump over the first spike, expecting it to be stationary.
2. However, the spike suddenly moves and kills the player.
3. This moment shifts the player's perception from "spikes are stationary" to "spikes can move."
4. As a result, the level’s vibe evolves from being about simply jumping over spikes to being about how to outsmart these tricky and unorthodox traps.
5. Player learned about this through the first trap of the level.
There are 7 crystals distributed throughout the level, each designed to trick the player in a different way. When the first crystal flies in from outside the game frame, players learn:
- Crystals are harmful.
- They need to be cautious of other crystals.
2 crystals are partially visible at the bottom, like a hidden surprise. The player wonders:
- Will these behave like the first one?
- I need to be more cautious.
The bottom crystals don’t move, but a crystal from above falls and kills the player, accompanied by the sound “Genshin.”
This sound effect is the first half of a famous meme from the Genshin Impact community. The complete quote is “Genshin, Start!”
Players familiar with the context will anticipate that the second half, “Start,” will soon follow, adding an extra layer of tension and humor.
The player anticipates the next crystal, but its speed doubles, catching them off guard. Players often forget this trap, even after experiencing it multiple times.
The player is now unsure if the crystals will move.
This time, it stays still, creating mental pressure.
A crystal appears while the player is being chased by a slow enemy. It doesn’t move, but signals danger, making the player anxious.
A combination of a static crystal and a tiny spike creates a medium difficulty challenge.
It serves to balance the more gimmicky traps with straightforward obstacles, keeping the gameplay engaging without overwhelming the player with constant surprises.
Near the end of the level,
the crystal’s sprite shakes slowly, drawing the player’s attention as they near the goal.
However, it doesn’t actually do anything. Instead, while the player is focused on the crystal, another trap suddenly appears, surprising the player in an unexpected way
By using the same object in various ways, I created different gameplay experiences.
When the player finally beats this level, they’ll feel a strong sense of achievement, having improved their skills and understanding of the game throughout the process.
Items are typically useful, but in this game, they bait the player into checking what's inside, only to trigger a trap instead. This subverts the player's expectations and keeps them on their toes.
Chasing Threat
A slow-moving enemy chases the player, creating a sense of urgency. The slow speed is deceptive, making the player nervous and more prone to making mistakes.
Scarce Save Points
With only one save point throughout the level, tension builds as the player progresses. As they get closer to the end, their anxiety increases, making every move feel more critical.
To avoid overwhelming the player, the platforming elements, like jumping over spikes, are challenging but not overly difficult, keeping the level entertaining and engaging, giving the player confidence to succeed.
Non-Damaging Jump Scares
Some traps are designed to scare the player without causing any actual damage. These jump scares often lead them to panic and make mistakes on their own, effectively outplaying them without direct harm.
Proper Usage of Memes
Selected appropriate memes to match the game's funny vibe, enhancing the overall atmosphere and adding to the humor.
Techno-philosophical Detective Walking Sim
Level, Narrative, Sound Designer, Programming, Art
The game explores techno-philosophical topics such as Artificial Intelligence, consciousness, free will, post-humanism, technological determinism, simulation theory, surveillance systems, and more.
I was the creator of the project, serving as its producer, designer, system designer, narrative designer, level designer, writer, lighting artist, and developer.
My duties include:
- Designed enclosed level layouts, game pacing, and cinematic effects to enhance the dramatic tension within levels.
- Assimilated and blended contemporary and classical art elements into 3D spatial designs using UE5’s Lumen feature
- Collaborated with character designer to conceptualize characters
- Curated sound effects and music from multiple genres to establish a unique atmosphere that is futuristic and ambient
Me: Level/Narrative/Sound Design/Environment Art/Programming
Jingyuan Zhang: Character Design
I believe that space itself is a powerful tool for storytelling and constructing specific feelings. I incorporate the art I've seen in museums into games to create connections between reality and the constructed experiences within the game.
The Dark Room
- I placed two of René Magritte's paintings on the wall, as his work aligns with the game's theme of questioning the boundaries between reality and representation.
- The 'Menaced Assassin' painting positioned on the left sets the surreal tone of the game and implies that the story revolves around a murder.
- The 'False Mirror' gazes at the player, creating a sense of being under surveillance.
- The table reflects the eye, further intensifying the mysterious ambiance.
The Church-like Office
- I think technology influences the world like a religion, so I decided to create a scene based on a church. This was inspired by Tadao Ando's Church of the Light.
- I defamiliarize it by making it an office, transforming the characters within these offices into figures resembling clergies.
- The use of concrete material makes the scene feel rational and cold.
- The spiral staircase is designed as a double helix, mirroring the structure of DNA, serving as a metaphor suggesting that human beings are evolving into a digital form of existence.
- How will people interact with each other fifty years later?
- The headsets will enable people to live in a cyberspace that is almost like a second real world. People will go to Internet cafes more oftenas a means to escape from reality.
The Hallway
- I designed it to resemble prisons of the future, where people are alienating themselves from reality and others.
- The light in the tunnel turns white after the player discovers the corpse. Prior to this, it resembled club lighting, designed to make the space ‘a space of otherness’.
- Inspired by American artist James Turrell’s art work and the film Blade Runner 2049.
- I placed Magritte’s 'Golconda' on the wall to lend a surreal and mysterious feeling.
- The absence of windows in this room further contributes to its resemblance to a modern cell.
- The orange light contributes to a gloomy and meditative ambiance.
- The texture of the furniture and concrete materials makes the room feel cold, and the orange light and blood make the room warm.
- The room is cold and warm at the same time, creating a very special space of otherness.
In my approach to an AI assistant, I diverged from the common trend of highly personifying AI in creative works. Instead, I chose a more machine-like approach. This choice adds a meta aspect to the game, revealing a potential future of a society shaped by Artificial Intelligence.
Oli - The Future Tech Elite Man
Choosing to make him a powerful black man serves as a form of resistance against the white supremacy prevalent in many industries.
Engineer - The Dead Man
Inspired by the crucifixion and death of Jesus. This religious iconography not only proposes a metaphor of technology elites, it also proposes a question about the duality of these figures and technology: are they good or evil to human beings and our world?
Jiang - The Camp Artist
I intend to design a character who will unveil the secrets of the contemporary art world, exposing the power dynamics and predatory culture in high society.
Ronaldo - Omnipresent
In this future, gender is no longer a defining factor. I intend to create a powerful character who makes players forget traditional concepts of gender.
I intend to create new and uniqueexperiences that will stay with players for a long time.I draw inspiration from various forms of media, transforming them into content no one has seen before.
Wolrdview Design
Find a big idea or theme and construct the world based on it. God, Human, Animal, Machine inspired me to think about what will our world really be like in 50 years and make the game Spiritual Machine.
Characters as means to tell stories
Characters serve as a visual representation of refined ideas. Their interactions reveal the conflicts between differing ideologies. I enjoy the process of researching and determining the semiotics and symbols that define these characters.
Story Design
To pique players' curiosity about the story, I focused on constantly creating tension. It's a process of building up and then releasing tension to maintain player engagement.
Music
I enjoy blending diverse music genres, ranging from metal and experimental to classical and jazz, to create juxtapositions that serve as powerful tools for storytelling.