the ivy falls incident
Narrative Action
Introduction
This level aims to deliver fun gameplay and a story in one compact package. I've used a template based on Control that I've worked on for some time to put players in the role of a psychic agent entering an underground lab to defeat the creature trapped there while coming to terms with its dark past.
Project Details
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Third-person action and platforming
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3-act structure
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5 weeks half time
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Unreal Engine
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Self-made telekinesis template (Basic locomotion and enemies from Max template by Max Forsberg)
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Assets used:
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Assetsville Town
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Stylized Eastern Village
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Vehicle Variety pack
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Propeller Hat by tamzidfarhan (Sketchfab)
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Human Heart by hobstob (Turbosquid)
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project breakdown
CORE MECHANICS
I had two major goals with this project. The first was challenging myself - working with limited time - to rework my template based on core mechanics of Control to deliver fun and action-packed combat and platforming.
To create fun gameplay with limited time, I honed in on telekinetic launching for combat, and dashing for mobility. I wanted a break-neck pace, so I added double-jump and a shield to keep the player going, while simplifying the energy system to 4 charges.
NARRATIVE
The second goal was delivering a narrative fit for the compact medium of a portfolio level. The story focuses on an agent with a shadowy agency who is sent in to investigate a slew of supernatural accidents at arms manufacturer Mercury Dynamics.
As the player goes deeper, they discover that in developing their key TeleLink technology, Mercury Dynamics trapped and exploited a powerful psychic being. The player must travel into the belly of the beast, gain this being's trust, and finally end its suffering.
Overview & Structure
THREE ACTS - WITH A TWIST
I wanted to integrate the narrative and the level's gameplay as much as possible, so I structured both narrative and gameplay into 3 acts with a twist. In this way, they can help reinforce one another. As the narrative tension rises through the acts, so do the mechanical challenges.
In the twist ending of the third act, the creature is revealed in its child-like avatar, and the player must make the choice to trick this entity to finish the fight. Mechanics and story once again interact as the telekinesis mechanic is turned on its head. Rather than combat, it becomes a tool for interaction and puzzle-solving.
PLATFORMING
EXPLORATION
COMBAT
act 1 - easing in
ESTABLISHING SHOT
The conflict is introduced with its full scope not yet revealed. Signs of destruction set the tone of the world and frame the player's goal.
Through the Ruined Parking Lot
The parking lot serves as the level's tutorial. Each feature is introduced as it becomes necessary to progress. Tutorials come through messages from an officer - a pattern that is later subverted for narrative effect. To add tension, the player is put under duress by a sinking platform, forcing them to learn the dash.
first fight
RAMIREZ & JOHNSON
The first fight is is designed to be easy. An orb for attacking is clearly framed. The animated alert from the enemies also gives the player time while contributing to the narrative stakes. This creature has the power to turn former allies against us!
act 2 - raising the stakes
LONG WAY DOWN
Act 2 starts with an elevator ride into the depths of the lab: taking away player agency temporarily to give weight to the moment. This transition into hostile territory is emphasized with confused messages from the previously so put-together officer.
the basement lab
LAB
OVERVIEW
Use the arrows to take a closer look at combat spaces!
Entering the underground lab, players meet an event where they must learn to use melee attacks. The tutorial message has the officer's speech garbled: cutting off a lifeline to add narrative stakes. Once inside, players have a quiet moment to take in the monitoring station, then find a door locked by a keycard.
act 3 - the twist ending
CROSSING THE CHASM
To enter the final act, players must first overcome the level's most difficult platforming challenge as the bridge falls apart around them.
the fateful meeting
Safely on the other side, the player encounters their long-term goal: the door to the orb. The subversion of telekinesis begins here as the door has a custom-made event to pull it off. This custom event enhances the tension and mystery as the player enters the red mist and meets. . . a child with a propeller hat.
THE PROBLEM
This avatar of the creature wants to play ball with the player. I've scripted this to continue for as long as players engage with it: each time the player throws the ball, the kid brings it back. If the player attempts to pull off the door on the house, however, the child will run up to them and stop them.
THE SOLUTION: BETRAYAL
For the level's end, I rely on the natural desire of players to progress. If they wish to see what's behind the door, they must launch the ball far away and pull off the door before the child returns. Players manifest through gameplay the level's narrative climax as the agent betrays the creature and rips out its heart
process
strong references
Knowing that it would take time to script narrative beats and refine combat, I wanted to keep the level design process straight forward. I leaned heavily on two key references to ensure a strong aesthetic foundation.
First, the mid-century architecture of the Bell Labs, which mirrors the world of Control but and was used to great effect to capture clean corporate culture over a dark underbelly in the show Severance. Secondly, the ever-iconic lab in Akira, with its imposing science-fiction architecture and seemingly infinite tubing juxtaposed against the child-like innocence contained within.
sketch, build, refine
I tried to answer most design questions in the sketching phase. The act structure and the general layout were laid out in this phase and remained mostly unchanged. I turned these sketches into a digital overview that I used to quickly block out the level.
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This allowed me to get meaningful playtests as quickly as possible to focus my work where it was most needed. This often meant adding elements to direct players' attention, making platforming and combat challenges more generous and enhancing readability and cover placement in combat.
MORE EVIL
Feedback indicated the parking lot tutorial was a capable intro to movement, but it was necessary to take away nearby spaces that looked deceivingly traversable. Playtesters also wanted the campus to look "more evil" to match the level's tone. I agreed and designed accordingly, though I remain curious about capturing a subtler corporate unease given more time.
ORIGINAL
ENTRANCE
DROP
MORE COVER
In the final fight, I gained a lot by filling the space with clusters of cover aligned with spawn points, creating "mini-combats" within the greater encounter. The original entrance along the left wall allowed players to pick off enemies from afar. I responded to this by dropping players into the area, creating a more engaging fight over-all.
developing the twist
My original sketch had players interact with batteries to overload and kill the creature or unplug and spare it. Discussing the sketch made it clear that the introduced choice was too great a departure from the linear experience of the rest of the level, and would require too much work to adequately explain to the player. Not entering the orb would also disappoint player expectations.
In response, I took players inside the orb for the first iteration of the current ending, but had them destroy the final door with the ball rather than pulling it out. In the process of building that design, I scripted the interaction where the child pauses pulling out the door. The ending organically grew from there to its final iteration, as players spontaneously perceived "betrayal" as the solution.
reflections
Structure succeeds: From game design to worldbuilding, this level had a lot to deliver on. I am glad that I used the act structure, which kept focus on making a complete and player-centered experience. I love games that can deliver a powerful cinematic peak and I do see elements of that in this level's finale.
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Game design gripes: This project left me unsettled about my game design choices. I wanted to incentivize players to close the gap with enemies and leverage melee, like my own favorite moments playing Control. Unfortunately, most playtesters didn't grasp the charges system or chose to hide until they had launch. I've learned that unpolished UX means imperfect information which affects player decisions. Therefore, I would like to polish more and see if players react differently.
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Tutorial troubles: I wanted the level to be playable (don't be shy, download here), which meant adding a tutorial to a level whose challenge is more suited for the middle of a game. The communicator UI was a useful solution that also worked for story beats. However, other solutions such as putting players in a movement gym might have helped them slip right into the action.
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Marred by mystery: Inspired by games like Inside, I knew I wanted to approach story with a light touch. However, the gaps left in the piece may be too wide. The nature of the creature and the Mercury Dynamics corporation are only very slightly implied. Given more time, I could make sketches of scientific diagrams or brochures and place them in the environment, allowing players to discover these elements of the story.
- thank you for your time
WALKTHROUGH
SOUND ON