Game Design

This portfolio represents a GDD and the actual PRODUCTION in one piece. This is made to cover both areas without separating related fields in order to give a detailed explanation of each aspect of the game in the same section. Both parts will be separated by color - GDD, and PRODUCTION



GDD

This GDD describes features of a 2D story-driven platformer. Each section will explain the mechanics, story and visual concept in detail. The name of the game is SPELEO, from the word speleology - the scientific study of caves. The player will explore the fantasy based underworld in order to find an ancient treasure.





Characters



Main character

The main character named Olle belongs to Suricata suricatta (meerkat) species and comes from the Kalahari Desert. His age is undefined, but some sources claim that he is in his mid-age (the lifetime of a meerkat is around 12-14 years).  Although the characters is an animal, the features inherent to human such as motor skills, ability to read and think as a human, are also included. The ability to dress and sense of style also separates our hero from real-world members of his species. Olle is also able to manage different types of the equipment, such as paraffin burner, candles, miners' rechargeable lights, pick. In general, Olle is able to do anything in the same way as the human, with the exception of speech. He can produce different monosyllabic sounds and whistles when he is amazed, puzzled or feels anxious. Olle can climb, jump, squat and run thanks to Sufficiently developed physics. It was the style of life that led our hero to explore other subterranean worlds since he was already bored of the familiar surrounding.

Olle is carrying a backpack with a necessary gear. The backpack acts as the inventory.  

Research/Production

The idea to use an animal world character was initially established after playing the Samorost 3. This game is absolutely stunning and immersed me immediately. That feeling obtained while playing hugely influenced the setting and overall mood of my game. I wanted to create a kind character and stylised environment so it would establish some sort of attachment. To humanize the character I decided to use real-life references, particularly those, who stand on two legs. I wanted to avoid 4-legged characters as it would take too much time to animate since I was focusing on the visuals of the environment. Another huge influence in choosing exactly a meerkat species was the DIY art focusing on creating paper-layered light boxes. Most of them have boundaries which remind a cave environment. I thought that using this art-style will help me to keep the style consistent and bring some logical sense if I will create a character who is familiar with the underworld realms.

The main character of the Samorost 3

The paper-layered lightbox. 

To design the shape of the character I used images of meerkats. I did not use many of them as meerkats are mostly looking the same.

I took the main features of these animals such as large head, skinny limbs, and quite a big body compare to the arms. Having multiple angles helped me to develop a desired shape of the main character.

The first designs were very rough, plus, in the beginning, I wanted to keep a paper look visuals referenced from the lightboxes to actually make a game like it would be created using the same techniques used to create them.

First sketches have a sci-fi touch. 

At the sketching stage, I had an idea to use a sci-fi setting and submerge caves in water. Therefore Olle could have some interesting equipment which would add crucial detail. This aspect could have a nice progression where the player would be able to find a specific gear for a related quest. For example, he would need a Bubble gun which is able to shoot bubbles in order to interact with the environment. But I scrapped this idea as mechanics required to accomplish my ideas would take too much of my precious time, therefore I looked up for "mountain climbing essentials" such as Helmet and Backpack references. It needs to be kept simple as this game is not a simulator.

Although there are a lot more things included in the equipment of the speleologist, I could not Attach all this outfit to the character's model. It would visually overload the character. Although pick should still be added to the full version of the game. So the character can actually interact with the environment when looking for treasures. 

Absolutely regular climbing helmet. The color reference doesn't really matter at this time. I have used the overall shape and referenced the strap position.

This is a quite advanced backpack which has an Anti-thief design. Just recently I was looking for one to buy so imprinted in my memory as a reference. It looks quite stylish, so why can't I give something cool to my character.  

The lack of necessary equipment is compensated by a backpack in which the main character stores all the necessary things which could be found and used during the game. 

Speleologists must wear helmets. Similarly, our character must protect himself.

Finalised sketch of Olle.

As I was keeping a simple 2D paper-style environment and the character itself I needed only the outline of to use it in the 3D package. The idea itself was to separate limbs, helmet, backpack and the torch to animate them relying on gravity and physics. The helmet needs to bounce as well as the backpack if the character is running. To achieve this I decided to use modeling tools instead of drawing manually. This was also a reason to keep the animation smooth (30fps) as I wanted to achieve the same result of the smooth character animation used in Samorost 3.

Outlined character. All limbs are separate.

I have used 48 frames for this character to animate the Idle and Running stance. To texture the character I have used a simple paper material texture and colored the polygons where I wanted to show a detail.

textured Olle

Animated Olle 

The character looks very simple and is not actually multilayered. Also, the black outline deforms together with the bending areas and loses its shape as the polygons started to intersect with each other. At this point, the character did not have any charisma so I decided to go for a more complicated design by adding more layers and clothing. This technique will keep the character and the environment consistent.





As it can be seen, Olle looks more like a meerkat now.

Although layers of the specific part of the body look separate, they are actually merged together so I can rig one object instead of every single layer.

                                        


I have also experimented with various color combinations. The red-coated Olle was chosen to be the final version as, In my opinion, this color combination reveals more details. As we can see on the left image, the scarf is blending together with the blue coat, when on the right image the scarf is clearly identified. Also, more colors would create a more interesting appearing so I skipped the idea of having a single, plain texture.

P.S.

The scarf was created in order to hide the junction of the neck and trunk as well as to compliment Olle's outfit. 






The texturing process was fairly simple. I used a "pick tool" to identify the colour from the meerkat image. This allowed me to keep a balanced palette for the character body.

Although for the gear I have used "eye-balling" technique. Every next layer has a different shade of the same colour.

For different parts of the clothing, I tried to use the same color and played with its shades. 

Enemy characters

SPIKE

There are several enemy types inhabiting the underworld. Some of them, such as flying SPIKE is actually neutral. But that doesn't mean that the main character should not be aware of them. The main feature of SPIKE is the ability to fly and sting his enemies. Olle is unable to kill any, the only option to proceed in the game level is to avoid any contact with SPIKE or hide using the environment abilities.

SPIKE is able to fly and sting his enemies. The player is able to recognize this enemy by a buzzing sound its producing.

Research/Ideas

As cave levels are usually inhabited with crawling creatures I wanted to bring some variety. It was difficult to decide what kind of creature I should design as the 2D boundaries with the cooperation of the visual style limited me significantly. Therefore I decided to use Colibri bird feature of freezing in one position (as this feature would be crucial for the enemy character) and some bug attributes such as sting and wings. Sting was meant to be a dangerous weapon which could be used to harm Olle and position of the wings should clearly notify this character ability to fly.

sketches

SPIKE sketch

The creation process was exactly the same as for Olle. I have used same principles in creating the body and rig setup. Same applies to the texturing phase. However, the first color palette I made using the fly's head macro shot did not fit in the actual environment since I created the character even before the game world.

Color reference for SPIKE

Using real photos instead of ready palettes is much more convenient, you can quickly review all possible color combinations + nature balances colors better than anyone else.







Smooth stinger control also identifies the character's ability to deftly handle his weapon. The character on the right has the ability to blink. This is done to make the character come "alive". In order to achieve a suitable animation of the wings, I was deleting random keyframes along the timeline to get this glitchy effect.




I had loads to cover, so I stopped on the Idle animation and exported it as the PNG sequence, which was later used in the UE engine to create a sprite animation. 

UPDT: Unfortunately I am not able to show any screenshots from the actual unreal viewport due crash of my machine and my project folder was deleted due Windows reinstallation. All the work shown here was stored for the documentation on another drive

In my opinion, character on the right is more suitable for this scene.

Spike represents a guardian in this game world. His purpose is to patrol different areas of the map in order to protect a hidden treasure. Not being aggressive, Spike can be easily avoided. The player needs to find the best spot to duck or hide from the incoming creature. As this game lacks killing aspect, there is no way how the player could eliminate the enemy. 


As for the features, Spike refers to flying enemies. The buzzing of the wings indicates the player that Spike is somewhere near. A sharp sting, colored in red represents a danger. Spike is able to sting his opponent, although the rest of the body is completely safe to the player. However, it is better to avoid any contact with this character as he is able to control his tail to sting the player in the best way possible. 



BUG


Absolutely safe creature. He appears where moths enjoy the sun's rays. The location of this creature might indicate the safety or danger of the currents location.

Very small and harmless bug.

Creation

In order to revitalize the card with events not affecting the gameplay, I decided to create NPC which would enrich the game world. As there is not much what this character can do, his details are at low level, even being animated a little, the character keeps his position static. 

The idea was to use him as an indicator. If the bug is hiding = dangerous zone. If not = safe. The bug was created last, and I was running out of time, so the design was created on the go using same techniques as for rest of characters. 



Also, the bug has low detail due to the character's secondary purpose. He acts more like an animated decoration. When I wanted to use it on the foreground of the game world, I forgot about the ability of Aftereffects to blur the image sequence of the character in alpha mode. Since the mushroom sprite was blurred, I could not combine it with the bug anymore. I remembered AE only after the game was already created.






ENVIRONMENT

The environment represents a mystical cave which can be explored by the player. Each cave system, after a successful completion, will reward Olle with a treasure. Although the cave looks beautiful it has its dangerous sides. Different creatures inhabiting this environment do not welcome strangers. 
In order to complete the level, the player will solve various puzzles by interacting with the environment. 






The idea for the environment has been determined long time ago. I was very interested in creating a lightbox. This can be achieved by using different layers of the paper which are cut to create a specific scenery. Each layer is set on the top of another one keeping around 1cm distance (or other, depending on the size of the project). All these layers are enclosed in a box and creates and the final result looks like this:

These works seem beautiful to me and the game, executed in this style, in my opinion, would look stunning. The complexity of the work is determined by the detail level and the number of layers. My game would have only an environment if I followed the idea of creating dozens of layers in order to achieve the look of a real light box for a big game level. So I had to simplify this idea and use a small number of layers to cover more aspects of the game design. Now I understand that I could spend more time to create a big game world if I would determine the actual setting of the game quicker.
The background of the lightbox is usually highlighted and it creates an ambient atmosphere. I was thinking to achieve the same result in UE4. The main character is placed on a middle layer, which represents the actual path. To avoid any sprite collision I carefully identified the collision box shape around the ground path. 


I decided to focus mostly on the atmosphere of the world and its visuals instead to showcase it (like a demo version of the possibilities) instead of creating a huge map (I had sketches already made representing different path options and secret locations. I will describe them in the OTHER IDEAS section)

I started with a simple sketch, trying to understand the overall look of my game. To keep it fairly simple and stylised I decided to use no more than 5 layers on the top of each other as I thought it should be enough to create the look of the lightbox. I painted new details on each next layer and played around with the composition so the foreground detail would not take too much space - The character should be in the field of view of the player most of the game.









Different colors represent guidelines for each layer, which I used inside the 3D package. I decided not to use Photoshop, as creating layers in 3d package gives more control over resolution and positioning. In addition, this approach gave me the ability to pre-visualise the outcome before importing into the engine. 







Very first attempts. As you can see, I have added some additional details such as mushrooms to enrich the environment. I had to change the ground layer several times as I needed to copy it for the collision box and the character couldn't climb too steep slopes. Yes, I could change the "step" value in the character's blueprint, but then it would look wrong in terms of physics. The character could also get stuck in small and bumpy areas due to the collision box's point allocation. I could not have less than 140 degrees between 3 points, otherwise, the character would get stuck without any option to get out. This was happening due to the character collision sphere size when it collided with the uneven shape of the ground's collision box. If I would minimize the actual size of Olle's collision sphere, He would intersect with the game world through the walls.




At this stage, I was experimenting with the positioning of sprites to find the best distance between them for a perfect parallax. I did not want the effect to be too uniform and to fix it I separated the sprites from each other in geometric progression.

The final version of plates used in the game

The first layers looked good enough, but it was required to maintain a solid visual style so I spent more time on developing the aesthetics referencing different lightbox projects. I also experimented on blurring secondary layers to achieve an off-focus effect often used in similar games such as Limbo. 





Assembling in a 3d package for visualizing the distance between layers. No lighting has been used yet. By using this technique, I could see how the layers would look in UE4 and fix visual issues before transforming them into sprites. This was a very good way in establishing the composition of the map.










Experimenting with shades of ground colors. The layers that are closer to the camera should be more saturated and layers further away - pale. 





Experimentation with the layer positioning.



And relying on the layer position the amount of parallax was identified




The layers that are located further away from the camera are less saturated and have a lighter tint.  This creates an illusion that the cave is huge, although, in reality, the layers are close to each other.

Black-and-white renderers were made in order to check how smooth the gradation is between shades. I would not want to see a darker layer somewhere between light ones as it would destroy the illusion of depth. 



Adding some sunrays coming from the cave entrances and cracks. The environment immediately becomes much nicer. You can also see the effect of distance - from darker to lighter. In order to illuminate the gaps between the layers, I added a fog effect. The color was chosen to create a mystery mood. There was also an idea to add crystals growing around. But since this level was designed as an introductory one I decided not to overload it with too much detail. 









I spent a lot of time on the distribution and coloring of the layers. And I constantly forgot to blur the front layers. After several attempts, the level was finally created. Now I need to create additional props to create an ambient mood.










ADDITIONAL PROPS



Sun rays







Create an atmospheric cave, without sunlight, is not possible if no fluorescent light sources are used. That's why I decided to equip my game level with additional lighting details




To create the illusion of the sun rays, I used a simple light ray alpha, created several copies and positioned them in the necessary places between layers to create the illusion of the light coming through the ceiling.  in my opinion, this is a pretty nice addition to the game world, the sun's rays are always beautiful. At the moment this volumetric light sprite is static, but there is a fade in/out animation in plans to achieve an effect of clouds covering the sun from time to time. 

Dust




I have used a grid of dots modified with the displacement modifier to achieve a random positioning of each dot. By animating the scale of the grid I achieved their movement. For this particle effect, I used 2 different planes and randomized their scale.




I always enjoyed additional secondary animation in 2D platformers, it brings a life to the static 2D world. And it is a quick way how to achieve a romantic scenery in specific areas. 

Rain

Caves are usually damp and have high humidity. Water, seeping through the ground, accumulates and drips down. To give a realistic touch to the environment I created a little animation of dripping water. Actually, water drops are tiny rectangles thrown out from the particle generator inside C4D. The problem is, that the particle generator shoots particles at the very beginning of the animation. This is not good, as I want different layers of water drops to play randomly. To fix it I used AE > Cut the sequence on half  > swap both parts of the video > Fade out the end of the first part and drag the second part under > Fade in the second part.

The final animation of rain (Alpha)

Red circles are representing the location where water is dripping. Sprites of water were located in these places because the condensate would accumulate there by means of solar heat. 

Rope

A little asset which announces the way where Olle came from. 

Since the character can not just turn up in a closed environment, I created a rope which the character could use to climb down into the cave. 

Fog

To create the fog I have also used smoke alphas and changed their color so I could have a variety of options to fill gaps between environment layers. The creation of such layers enriches the general atmosphere, turning the ordinary cave into a mysterious place. The purple color suited perfectly, and this color is used in many games denoting the uniqueness of objects and locations. Unfortunately, I did not animate these sprites leaving them static, due to the unsuccessful experience of creating a glow animation for the chest.

Mushrooms




This asset was the most time-consuming. I tried to follow the same set of multi-layered concept to obtain more detail when the scene will be highlighted. In the aftermath, I decided to leave only one shade for each layer of the map, since the multicolored mushroom did not fit into the environment.

Allocating layers to form parallax. 

STORY

The main character Olle is tired of boredom. All the caves and tunnels surrounding home have been explored long time ago and don't represent anything interesting. Trying to sleep, Olle decides to pack his backpack in the morning and leave for an adventure. He remembered that Elders of the tribe said that there are such deep caves that they can even put a lake in themselves. Hiding many secrets and dangers, they always seemed something terrible and it never occurred to anyone to look for such caves. Olle was different. He wanted to explore more, he was never enough. When the morning came, he brushed his teeth and went out ready for a long and exciting adventure.

After couple days of traveling Olle finally finds what he was looking for. A small crack, perfectly sized for him to squeeze in located on the ground. Using the rope he climbed down and found himself in a spacious cave.

The first location (And the only one in the Demo version)

Exploring the cave, he comes across different creatures and finds many more entrances allowing him to go even further to see more of this beautiful underworld. But it appeared that exploration of unknown places is not that easy. Olle has to solve many puzzles to figure out the way how to proceed further. After many different locations, he finally finds the end of the cave where the most beautiful treasure is located. However, the amount of treasure provided is way larger than the capacity of Olle's backpack. He must choose wisely and return back home, to tell the incredible story of his travel.


THEME

This game is about the exploration of new worlds and feeling which appears when you find something significantly amazing which have never seen before. Complemented with a stylised graphics the game itself promises a beautiful journey through different cave systems differing from each other visually and mechanically. The puzzles hidden in the game are also related to the setting and the environment so the actual gameplay feels immersive. The danger following the main character everywhere is also a part of the journey. The main feature of this game is the lack of killing aspect. Having to find a way how to avoid deadly conflict with underworld inhabitants is also a part of the puzzle.


STORY PROGRESSION

With each subsequent level, the complexity of the game increases. The player will also be able to learn more about the underworld while completing different puzzles. At the very end of the game, the player receives a reward and his character can return home with prey. The game is designed for 10 hours of the gameplay.


GAMEPLAY

Goal


The goal of the game is to explore the cave systems and solve various puzzles in order to find the treasure which can be brought back home.

Gameplay:

Avoiding any direct contact with the NPCs. Solving puzzles in order to proceed to the next level or section of the current level. Some puzzles are giving the additional items or opens secret entrances.

USER SKILLS

To have a comfortable gameplay the player must be able to cope following mechanics.
The game itself will be also released for mobile platforms

Tap on the screen
Puzzle solving
Drag and drop
Click to open
Strategy
Rearranging pieces
Movement mechanics

GAME MECHANICS

I did not modify or develop a blueprint control character. The goal was to cover a default player control blueprint with the corresponding animations. So it was visually more pleasant to test the character's sprite behavior in the environment.
MENU

Clicked



Hover




No-active



Resolutions



To maintain a single theme, I also developed icons for menus using several layers. The behavior of icon visualization changes relying on the pointer actions. Each symbol is drawn separately to keep the ability of relocation if needed. The functionality of the buttons is absolutely basic. This layout is used in almost all games. Location and size, when launching the game level, also has the nature of the placeholder and is not the final version.
,




ITEMS

Chest

To indicate the end of the level I referenced almost ALL RPG games. The chest is the most basic way to show the player that there a reward can be found. And again, same techniques of creation and regular colors for the chest itself. When the player presses a certain button, the chest opens.

Textbox

The text message was made there just for fun. I was too busy with trying to cover the most of gameplay aspects such as sound, animations, environment etc, so I decided to use a simple text box (like a placeholder)

Chest Lighting





I also wanted to create an animated glow of the chest when its opened. But unfortunately the animation of alpha with the use of different layers did not work properly and the render looked awful. So I just placed non-animated alpha behind the chest to give at least some glow effect. The character does not suffer from high falls, hunger or other vital factors inherent in real life. 


LOSING

The player will lose only on one condition - if he encounters an enemy. In this case, the level begins from the very beginning and all acquired is  nullified


Influences

Child of light

Ghetto streets

Guacamelee

Inside

Kyntt Underground

Limbo

Ori

StealthInc: Alone in the dark

Toby: The secret mine

In order to understand how to build a decent 2D game world, I referenced several games which are corresponding to my idea. Staring at the silhouettes and finishing with the parallax effect and layer construction. For example, the blur effect applied to the objects located closer to the camera was taken from the Toby: The secret mine. The idea of having colorful fog came from Ori. The idea of a passive gameplay - where the player has a minimalistic set of controls and abilities - Limbo. All these games together have determined the general concept of my game.




Soundtrack

In terms of music, the biggest influence on me was made by Thomas Dvorak. A musician who created absolutely amazing masterpieces for Samorost 3. I can say that music and visual accompaniment to this game are truly unique. For my game, I wanted to create something similar. Thankfully I have some skills and experience in music production so the technical part was covered. The rest of it was about the imagination. Simple, ambient beat, sound effects, and the calm melody was all I needed. The soundtrack and SFX can be found in the Game submission folder.

SFX

I used the FL studio to create the sound of dripping water since this is probably one of the most common sounds you can hear in deep caves and underground locations. I also recorded different sounds using cardboard to compliment the menu button clicking sound. 

Voice-overs

In order to create sounds that could be used by the protagonist of the game, like it was accomplished in Samorost 3, I asked for a help of my flat-mate. She recorded her voice trying to express cartoonish sounds. I edited them later and added a reverb effect to fit the cave environment better. When the character steps in into the trigger, the sound appears. In fact, there were many sound effects created, but I couldn't figure out why only the first trigger box collided reproduces the sound. I assumed that every single trigger box should reproduce its sound one after another. 

OTHER IDEAS

Characters



Slime

Another creature which may cause difficulties to Olle is SLIME. Very slow, but dangerous he is able to cut our main character into the half.  SLIME is quite aggressive and will make an attempt to attack the main character as soon as there will be a chance. Although, the eye-sight of this creature is incredibly bad so it will take some time to identify the target.

Slow, but dangerous SLIME is in the bad mood permanently. (Final version)

One of the first versions of the enemy character that could be used in the game. It lacks the aspect of layering and has a differing visual style in comparison with the game world.  This character was also created before the environment creation and was meant for the underwater world. The "facial" expression indicates ill-tempered mood and huge spikes are used for the protection.

SLIME changes the position. I tried to achieve the effect of pushing the body forward by using section of the body. So the actual movement would be driven physically. 

Idle animation, SLIME is resting. As it can be noticed, the animation is more complex than final characters in the game. The art style is also different. If I would keep this style throughout the whole project, I would probably cover less material.

Jelly






This concept was created for the underwater level. I have also modeled it and animated so it could be ready for the game engine. The visual style was less detailed, so even if it would be used in the actual game I should improve it.

Turtle



At the very beginning of the pre-production, I wanted to use this character as the main one. However, after I designed the behavior of bubbles I thought that it would be a cool feature for the enemy character. Dropping bubbles like "air bombs" would damage the main character. As it can be noticed, at that moment I did not have a lightbox style visuals. And the character is fairly complex in terms of drawing so I wouldn't be able to use it in 30fps.

Spider



The spider character which was created to be a part of the puzzle, where the player must kill the spider in order to proceed to the closest platform. This idea was abandoned almost straight away so I don't have any further evidence of the use of this asset.

Environment



The first sketches representing the possibilities of the route and puzzles. At that stage, I was planning how the character could interact with specific areas of the map to open/find a reward or a secret room. There is also a position and amount of lifts drawn to give a better understanding of the space usage and how the player can use alternative routes to explore the game environment. Each map represents a game level which needs to be completed to open to proceed to the next one.



In this figure, I wanted to portray the possibility of interactivity, when a player using different equipment could open new passes. For example, if the crocodile's mouth is closed, the player using air-shooting gun to shoot air bubbles between the jaws could open the upper jaw and walk through the skeleton. Following this concept of the environment usage I was thinking to create different modules of puzzles which could be solved by using a specific weapon or tools. Those could be found or bought from vendors. For the final concepts, I used more simplified maps. Since it was necessary to focus on the animation of the character. besides, ideas about interactivity might turn out to be too complicated for such a length of time. However, I might use these ideas within a more complicated game world if the game production will be continued.

Evaluation

Since it was my first experience in creating a computer game, I wanted to focus on a variety of aspects - sound, visual, animation, environment design etc. This entailed some problems related to the time management. Instead of creating a full-rate level with mechanics, I was able to create only a demo version of the visual aspect of the game in which the player, in fact, has nothing to play. But for that reason, I had time to focus on a full visual and sound accompaniment. I really enjoyed creating a world that would have a beautiful stylized image relying on existing physical projects. Unfortunately, this led to an almost complete absence of the mechanics. But if I want to continue this project, I will already have an acceptable visual base which can be expanded as I'm already used to its creation nuances. However, this was not my first experience in the game creation. I was designing board games with RPG aspects. Involving different items and level/character progressions. Spending time on thinking about gameplay options, visuals, and mechanics I thought myself the techniques of experimentation and hints how to achieve the desired result. As for a creation of 2D platformer, the previous experience was incredibly useful. I was able to critically assess my capabilities within a specific timeframe. Concerning the production - this is actually a laborious process that must be properly planned to avoid large time losses. I was spending a lot of time on character creation which was not even used in the game. If my time management regarding the Idea development would be defined without changes, I would definitely create a bigger world with all planned mechanics and interactivity options.

Using the 3D package with which I constantly use for personal projects helped me to create characters and assets fairly quickly, so most of the time was spent on the actual designs. Concerning the game engine, I have used only the basic options, such as sprite creation, collision editing, asset placement etc. I bypassed a complicate blueprint construction as my main goal was the visual accompaniment of the game which I successfully accomplished. The hardest phase of the game creation was the style-defining and ability to keep it solid throughout the whole project. I got a real enjoyment within this project as I have learned many useful nuances and developed my own style which can be progressed for the further development. It is a pity that I did not have a chance to spend more time on the mechanics of the game to actually provide some sort of the gameplay to my game world, and I should definitely focus on mechanics next time so both fields - visual and technical could be covered.


Bibliography









Samorost 3." Samorost3.net. N.p., 2018. Web. 8 May 2018.

Knytt Underground - Ripstone." Ripstone. N.p., 2018. Web. 8 May 2018.

Caving Equipment." En.wikipedia.org. N.p., 2018. Web. 8 May 2018.

Playdead." Playdead.com. N.p., 2018. Web. 8 May 2018.

Navratil, Lukas. "Lukas Navratil Games." Navratillukas.com. N.p., 2018. Web. 8 May 2018.

Ingenito, Vince. "Stealth Inc.: A Clone In The Dark Review - IGN." IGN. N.p., 2018. Web. 8 May 2018.

Ori And The Will Of The Wisps." Ori. N.p., 2018. Web. 8 May 2018.

"What Is Speleology? - Wisconsin Speleological Society (WSS)." Wisconsincaves.org. N.p., 2018. Web. 8 May 2018.

Inc., Drinkbox. "Guacamelee! 2." Guacamelee2.com. N.p., 2018. Web. 8 May 2018.

"Playdead." Playdead.com. N.p., 2018. Web. 8 May 2018.

How To Create A 3D Paper Cut Light Box | DIY Project." YouTube. N.p., 2018. Web. 8 May 2018.

Child Of Light." Ubisoft.com. N.p., 2018. Web. 8 May 2018.

Tomáš Dvořák / Floex - Samorost 2 Soundtrack (Full Album / Álbum Completo)." YouTube. N.p., 2018. Web. 8 May 2018.

Platform Game - TV Tropes." TV Tropes. N.p., 2018. Web. 8 May 2018.

"Parallax Scrolling." En.wikipedia.org. N.p., 2018. Web. 8 May 2018.

"What Is Speleology? - Wisconsin Speleological Society (WSS)." Wisconsincaves.org. N.p., 2018. Web. 8 May 2018.