I am hoping for this class that I will gain the skills necessary to create my own games using the unreal engine platform. Along with this I am hoping to acquire connections and foundations for my future career as a game developer/designer. This class is super important for these goals so i am hoping to get all that I need from this class as well as doing well enough to move onto Advanced Game Studies for next year.
The value of an industry credential such as the Unreal Engine certification for my future as a game developer/designer is immense. A credential such as this one can prove to hiring managers and different companies I would be worth hiring. That along with my portfolio as an aspiring game developer could give me a leg up compared to other candidates that are interested in the same position. Along with that i would also be able to more easily apply for internships in college due to the background I would posses.
A code of conduct is immensely valuable when working in game development and other related fields for a plethora of reasons. First of all if there was no code of conduct there would be a lack of respect for the employees making the games. For example lets say a part of the department does bad during a specific aspect of a game, what is stopping the supervisor or any higher ups to bombarding the employees with verbal abuse or something worse. This also goes for employee to employee like stopping harassment or discrimination because of physical or mental characteristics.
This simple choose your own adventure style text game gave a genre and feeling of a suspense or mystery. The way the lack of information and cryptic messaging was unsettling in a way that lead me on a path that felt eerie, but in a good way. Also the build up of atmosphere was very enjoyable with the final push through all the obstacles you had to move your wat throughout.
Some parts of the game did feel a lot like a completely different genre at times. The ending push definitely felt like a platformer or something of the sorts with how you had to dodge and weave through the different obstacles. The part walking through the woods and the boat was definitely very suspenseful and gave a bit of a closed world vibe like an origan trail clone in a sense with different writing.
I'd say that it would change the way I imagine playing what remains by actually putting myself in the shoes of the character I have created. instead of it feeling like some vague story or something to that effect. it's going to feel a lot more personal and, in my opinion, more enjoyable since it's my character. It's also going to be a lot more of a unique experience.
There are definitely a lot of similarities between 3ds max and unreal engine. For example the movement is similar with how you are pretty much just a floating camera. However unreal engine is a bit harder to control since we're looking at a whole scene and not just one model. There is also how there are the 4 viewports, how we can multi select, rendering, and adding different blocks to create scenes making unreal feel similar yet different. There is also the tabs for how you can view the scene that is similar with the wireframe and no lighting that's similar. 3ds max definitely felt easier to control though that may just because i have more experience with it.
I felt 3D modeling helped me prepare a lot because not only will i need to make my own models if I'm making a 3D game but I also it let me experience and get used to how these types of software work so i can be better the next year. Not only that but with how similar they are it'll be easier to pick up unreal engine so I can work more efficiently on game design. Another thing I'll add is the frustration I got with 3ds max. Sure I loved working with it but some of the stuff i had to do really annoyed me. This in turn gave me a true look on what it's like as a game designer and get frustrated with my project but still keep working because i want an amazing finished product.
Something I found the most challenging was definitely the UI and navigation. It may look similar or act sort of similar but it feels completely different to use. Moving the camera feels kind of funny in a way and sort of feels like an ice level. It's harder to control and with the difference in UI it's harder. One thing that's going to take a long time getting used to is the asset manager. I wish I could just put it to the side or just have it be an always open tab down below. It's a lot less convenient when I always have to click crl+space to use assets
Across the Room
Complete and pure chaos
Multiple inclined planes can be a lot more effective in a bunch of different ways. For example if there are more planes then the ball could pick up speed if one of the spaces between creates a drop that speeds it up. It's also better because it's easer to control the ball's trajectory, speed, and where the ball could go using the different types of planes positioned in different places.
When I turn off snapping it's also changing a lot of details in the machine. First of all if things aren't perfectly exact and if there off by a bit, the whole thing could break. On the other hand it give you a lot more freedom with which angles and position the blocked could be in, in turn making you able to create more creative things.
When stuff didn't work as expected I had to pivot fast. I learned that when doing stuff like this, changing stuff on the fly based on what makes sense in your head and what you can determine about where the ball is going to end up. you don't just do one render and then write it didn't work or something but you actually test it and the moment it doesn't work end it and see what you can fix a=or why didn't something work.
It's of how physics works with levers. If an object is closer to the fulcrum it doesn't create as much torque. This in turn causes the lever to not move as much than if it was farther away. for example if I drop a heavy at the end of the lever, the other side would shoot up. However if it was closer to the fulcrum there would be less torque. This is due to the fact that there is a point that doesnt move stopping the box from moving the lever as much.
Scaling the weight of the object dropped onto the end of the lever creates an equal amount amount f change. This is because if you just dropped a light object the lever wouldnt move very much due to the lack of force. if it was heavier the force would be a lot greater. This would create a lot faster of a motion on the other end with it shooting up super fast.
Customizing materials is a very useful tool for for design and gameplay for a lot of reasons. First of all you can alter the materials in the editor to however you feel is best no limits. It's what gives the world it's artstyle and the vibe the players are going to get from the game. This is one of the most important parts of game desgin. It also is important for gameplay because it could be used in a lot of ways like a slightly cracked wall that can be destroyed for loot behind it. So all in all it's very useful and important to cuztomize maertials.
Changing the sharpness and the shape did effect a lot compared to just moving it. An example I can give would be is when I sharpened the wedge and spread the base out. This helped the water melon fall into the bucket easier. If i had just moved it then there would've been no slicing. So changing the size and sharpness helped a lot more than just moving the wedge.
I learned quite a lot about controlling the chaos. First of all with the water melons you cannot have them all it a straight line. If they are in a straight line, they'll get stuck in the middle and they won't go into the hole. Second off it's harder to get them in the hole because of the size so you need to put them around the bowl and at different heights that wont intersect others.
Experimenting in unreal engine helps us problem solve in real life by giving us a way to think through problems visually and having us use a systems-thinking approach. Usually it's equations and trying to understand those but here it's a lot easier because it's visual. We are taught to at and tweak things to problem solve on the fly which and also apply to real life. An example would be if I'm trying to fix a pipe as plumber i would need to test and experiment like I'm doing in unreal engine.
Final Result
1st Lazy Susan Settings
2nd Lazy Susan Settings
Wheels reduce friction by allowing an object to rotate and move with less resistance by constantly changing the tiny contact point. This is instead of the entire surface area rubbing. Doing that makes movement smoother, more efficient, and requiring far less force than sliding the same object. This changes movement from jerky to continuous rolling, letting heavy loads to be moved with ease, like with luggage or cars.
With the lazy Susan's size becoming bigger and spinning faster/slower, a couple things change. First of all when the Susan was spinning slower, there was more control and it didn't just go flying at the downside of being slower. The size changes how far the ball goes. As the size gets bigger the ball get more ground to roll and speeding up, causing the ball to go farther. This tought me that things need to be very presice when designing certain things or else that fraction of a difference will mess everything up.
Adding sound effects to a game level or a rube Goldberg machine improves the scene a lot. If there was no sounds at all the level would feel lifeless and weird. It's unsettling a little to not hear any sound. Adding sound however really extenuates the scene as a whole. With sound the level feels very alive, especially hearing all of the intricate sounds of the spinning, a cut rope or the friction of one, a ball rolling and hitting something, small details like that make a world feel very satisfying to you and the player.
The first step I did to get the 2nd ball into bucket be was simple. I just duplicated the original ball and Lazy Susan to put near the other ramp. After that I played around with settings, tested different combinations, and changed values until I got the ball into the B bucket. The values i landed on that worked like most of the time was setting the scale to 1, length of the cake to 30, and setting the spin speed to -320. That allowed me to get the ball inn the bucket.
There are a couple reasons why it's important to leave a gap between the basket and the other objects when making a chain reaction. First of the hitbox of the basket is a big reason. If there wasn't a gap the basket would activate immediately due to the wall or whatever else was touching it. Next is clearance for the basket. The clearance for the basket is important too. When the object goes into the basket there is going to be some sway. If we give enough space the pully will work a lot better than if we didn't give the space.
Changing the rotation and/or position of the pulley can effect the machine in a couple of ways. First off if you rotate the entire system then the activation of the machine might not happen. Moving it somewhere else also does this. Moving it up might give you more space for the pully depending on what you're doing. It could also be used for when you need to shrink the rope space you need.
I don't really know where I would start on this to be honest. I would probably just reinforce the design first. An example would be to add a latch to secure the rope. I would also add maybe stronger rope? I don't have a lot of ideas because of how well engineered this is.
I think it's considered a simple machine for a couple of reasons. First of all it does follow the definition of a simple machine which is "a basic mechanical device with few or no moving parts that makes work easier by changing the magnitude or direction of a force". There is only one moving part for a screw which is the screw itself and it does make work a lot easier. An example is what we used in Unreal Engine, basically acting as a kind of pusher for the orange so it can make it to the desired destination. It changes motion differently compared to the other machines because it is constantly doing something compared to something being activated due to another force.
I notice that it's a lot easier to make it precise rather than smooth. All you have to do it put the spline where you want it and then yeah the ramp is going to be there. However for the ball it's probably going to fly off the ramp because the angles are too sharp and it messes it up. Making the ramp smooth is a lot harder because you have to constantly keep tweaking and adjusting before you get it right and that takes a lot more time and effort than just being precise. There also needs to be a balance between them to make it the most effective it can be.
Combining the splines with screws and dominos allows for a lot for creativity for a couple reasons. Using the splines to form the other two objects makes for a lot easier customizability. This allows you to add a lot of more complexity and detail in a rube Goldberg machine. Not only that but also using the splines makes things smoother and faster to create. Instead of having to place each individual domino or ramp perfectly every time, which would take absolutely forever, you would speed up the design process quite a lot allows for more energy to be put elsewhere if need be.
The Members of my team are me (Emerson) and Dylan.
The theme of our machine is flipping a pancake onto a plate.
I took the role of Designer. I have a couple of reasons why I chose this role. First off I'm really into doing creative work like drawing, building, ect. so i figured this would be a pretty solid job for me. Not only that but I am also very good at visualizing and adapting to problems we might run into on the fly which is a great quality for a designer.
First we opened up Unreal engine and look for where to start and where it will go. While we do that I draw the basic idea of the machine while Dylan writes it out. After that we actually build it.
First the ball rolls down from a ceiling beam onto a plane leading to a ramp. The ball lands in a pully basket. The boot on the other side flips a truck that knocks over some dominos. the dominos at the end get bigger and bigger and the last biggest one hits another basket that pushes a truck down a plane. the truck knocks down a cup with a ball. The ball rolls into a screw elevator that leads to yet another plane so the ball can knock down a board onto another pully. The pully this time knocks down a watermelon onto a wedge, splitting it in half. one of the halves falls onto YET ANOTHER PULLY. This pully leads to a pully chain and the final one hits a ball into a 2nd screw elevator, leading the ball to fall onto the 2nd to last ramp, hitting the wheel and axle. The wheel and axle knocks over a comically long domino that hits a domino chain that hits a skateboard. The skateboard has a weight on it and it rams into a stopper that has the weight flung off the skateboard, onto a lever and that lever will flip the pancake onto the plate.
I now truly understand Gameplay from the unit introduction. I can really understand what it means and how I can analyze it. Gameplay is the most important part of an entire game and shows exactly what type of game it is. How the gameplay works or the unique features about it, like rolling, dashing, and other gameplay mechanics, really can make or break how fun and rewarding the entire game is. The main thing in gameplay is fluidity. If gameplay doesn't flow together smoothly, it usually makes the game less fun.
Simple mechanics can lead to very complex gameplay for a couple of reasons. First off mechanics interacts with a lot of other factors in the game like physics, logic, and the code itself that's allowing you to move or do whatever. Depending on all those factors the gameplay, when simple, can have all the mechanics combine in a meaningful way allowing for extremely complex movement and stuff. Not only that but when you find techniques that you're able to do back to back it can make for extremely complex movement in video games.
I have a couple examples I can give about how each of these games use complex movement. In Tetris it seems unbelievably simple, move left to right and turn blocks. However right before you hit the bottom you can move into a gap even if it's only a one block tall gap. In rocket league there are so many ways i can go about this one. One I can definitely say is the different ways to hit the ball. In the game you can only jump, boost, turn left right, and go backward and forward, yet you can pull off crazy shots like a backwards shot or even flying for a short time using the boost. In Lego Fortnite I don't really have a lot to say. I mean you can build some crazy stuff to move around I guess.
It's useful to know this stuff for a couple reasons. If you don't understand what you're trying to make, or at lease basing something of off, then how can it be good? That would be like if Toyota hired a random guy off the street to build a car from scratch. There is no way it would function right or even be any good. To make something good you need to educate yourself on the subject and research so you can make something great and understand everything.
This activity has helped me a lot to really learn how to give feedback and explain the reason why something works. For example before I would find something I thought was cool like the movement and say "I like the movement" or something to that effect. I didn't understand why it was good or what made it enjoyable to use. Now, however, I can confidently find out what works and how i can accurately tell what about it I liked instead of having a vauge response. It's a lot better for both you and the game developer because the game developer gets really good feedback and stuff while I learn how to properly see what makes a game so good.
Mood and atmosphere is very important to any game for so many reasons. One main reason I can think of is because just like art style, mood and atmosphere are a game's personality. Without these important characteristics a game has no personality or any way to stand out to someone meaningfully. It's also especially important for storytelling purposes, like having rain for an emotional scene or a dense fog at night to create a suspenseful, uneasy atmosphere. All of these parts of mood and atmosphere make a game truly unique so it's especially important to get these features right.
These elements are a lot different from mechanics for a couple of reasons. First off the atmosphere doesn't interact with the player directly, it just sets a tone for the game and the level. Sure there might be collectables that feel like they don't interact with the player. However just collecting that stuff constitutes it being interacted with. Also mood and stuff is more so thematic than gameplay so it's not really for us to use to interact with just to set the scene.
Mood and atmosphere serve as the emotional glue that connects your player’s actions to the world around them, transforming a every single mechanic into a cohesive, immersive experience. In Trailmakers, for example, this is ]achieved through a n incredible symphony of environmental storytelling and sensory feedback. For instance, the stranded in space campaign utilizes a quiet, soundscape filled with synth and glowing plants and rocks to cultivate a mood of isolated wonder, urging the player to explore rather than just survive. This shifts dramatically during super fast races or dogfights in the sky, where the atmosphere becomes frantic and high-stakes through the aggressive roar of you vehicle seeming almost alive and the visual blur of motion. Even the weather systems in the high seas expansion going from calm and sunny waters to very oppressive, lightning-heavy storms that directly impact the player, shifting the tone from one of creative freedom to a tense struggle against the elements.
I can explore and navigate the first level using mouse and keyboard with certain commands. An example I can make is using ctrl+B on the keyboard when I have selected an object. This pulls up exact location in the project manager where the object is located. Not only that but using WASD and the mouse to navigate the level as the character helps a lot. I can see how it would be for the player and adjust things accordingly. Also I can try and see if there is anyway to break the game in any way using the play tester so I can improve upon stuff.
There are some differences between both a static mesh and a blueprint. A static mesh is just the model itself. There is no fancy animations and no way to interact with it. If you try to touch it you'll fall right through. A blueprint however has a lot more stuff. There are factors in the object that make it special and that is the programing attached to it that can make the object do specific things. It can also be interacted with.
There are definitely a couple candidates I could consider. The first interactive element I can say would be the ground of course. It's like the most important interactable because you need to walk on it. Next i would say the buttons because they are going to be very important later on for checkpoints. Lastly I would say the levers are another important object because of all the use cases that a lever could be used for.
There are a couple of steps involved to opening the scene I will be editing. First step is to open the project so you can actually get to the map. Next I am going to open the project manager in the hour of code file. In that file I will open another folder called maps and open HOC_World. That is the main map that will be used and edited.
You will automatically be placed in the level that has all the assists out on display instead of the level that we are going to edit. There are a couple steps to do to fix it. First off You need to open the project settings in the edit tab. In the menu screen that opens you will click Maps and Modes. In that menu change the editor start up map to be HOC_World.
Using high detail meshes like that for collision is not used very much due to the high cost on the computer. Calculating the amount of triangles every frame is way too taxing for the computer so instead we use simplified collision objects to minimize the impact on the computer itself. It also provides a smooth and snag free collision so the player character doesn't jitter on every microscopic gap. This is also allowing developers to create invisible boundaries that prioritize smooth player movement over complex models like the ones often used in games..
There really isn't any part of the collisions that were confusing to me. it just makes sense. There is an invisible object that acts as the structure of the object. Well there was one part that did sort of confuse me. It was the names of the collision shapes. It's all good now because the video explained it pretty well.
It's important to add detail. Detail is what makes a world feel a live. Not only that but using detail to challenge the player, like with the rocks, helps a lot too. It's important to not overdetail or else it's going to be really laggy for people on lower end machines. Adding grass to the islands or a small tree on another would make the world feel alive and not like a static plane.
There was a couple challenging obstacles when animating the islands. The keyframes themselves weren't too difficult to get the hang of since it's similar to the 3ds MAX animation system. However the timing of object took a bit to get the hang off because I didn't understand what they were using to count the time. I also struggled with looping and speed. It was hard to get the speed I wanted by making the time longer but it worked out.
I would probably add a slight shake side to side before it moved. This way i can make it seem like it was being moved my something or someone. I could've also added some more details like grass or rocks to the top. Not only that a small tree with roots coming out of the side would look so awesome. I could've also added more islands to make it more of a challenge.
There are a couple power ups I can think of adding to my game. First one would be a speed boost. It may be a bit harder to control but it could be very useful when combined with the jump boost. Doing this would make it possible to do a jump that would've been impossible otherwise. Another power up that would be useful would be a 15 second invincibility. This could be like in Super Mario where you can take no damage for a short period of time. This would be very useful if I'm fighting a lot of enemies with low HP.
There are a couple reasons why picking up coins can be satisfying to players. First of all it gives the player a sense of progression with each coin that's picked up. It also gives an optional objective to complete, collecting all the coins in the level. Not only that but if you can use the coins to buy other items it can feel rewarding to buy an item after grinding for so many coins. A good comparison I can make is in Lego Star Wars: The Complete Saga with how satisfying it is to collect studs and then using those studs to buy other characters.
One way we could improve the how satisfying it is to collect coins is to add different amount coins. A green coin could be worth 1 coin, yellow 5 coins, red 20 coins, and purple 100 coins. Putting the high amount coins in har to reach places to dropping after a hard boss fight makes it feel even more satisfying when collecting them. Not only that adding items to buy and use would make it even better. Saving up for an item and finally purchasing it after getting all the coins after so long is one of the most satysfying feelings in gaming. Especially if you put coins behind minigames too.
We need to store the data for the key in the game mode instead of the player for a couple reason. First off if we didn't then if we had to go to another level with the key, the key itself would just disappear. That would break the game since you can't progress without the key. Not only that but if there are multiple doors or keys, storing this in a central location allows for easier tracking of which keys are found, avoiding inventory bugs. It also makes it easier to add, remove, or change requirements for unlocking items without redoing logic in the player or door blueprints.
The hardest part to understand when I was building and connecting the key to the door was just the logic and how the blueprints even worked. I mean I understood what the guy was saying but It was still hard to get it with the way some of the nodes looked. It was also hard to understand where each strand from the node should go because it was my first time using blueprint. I'm starting to get the hang of it though.
There are a couple reasons why this is. Firstly it just makes blueprints easier to read. Seconds off it's better for optimization. Usually, if you use the game mode, you would need check every tick for an update and that's super taxing on a computer. Using the HUD instead of the game mode fixes that issue by only making sure it updates every second and not every tick. This improves performance a lot.
To be completely honest I didn't run into any issues when creating a new event. I mean I didn't understand it completely. However, it did kind of make sense with how I had to create it. Needing to create the entire event and then condensing it somewhere else with one node was really interesting. All in all it wasn't too hard I just followed the instructions and it worked as intended.
I learned a whole lot about how data is passed through. I mean I don't understand it all too well yet but I kind of have a grasp on what is being told. I know you need a starting node and a node that has the level and what it's referencing connected to the level node, I think. It wasn't explained too well and since I didn't get a lot of experience with actually making blueprints I didn't get a very firm grasp on it at all. I wish I could explain more of what was happening with the blueprints and widgets but I just don't have a very good grasp on that stuff yet so until I do get a better grasp on it, I'll leave it there.
There are a couple reasons why it's important to keep your blueprints organized in unreal engine. Organizing them in these lines are important for creating clean, readable, and maintainable visual code. It's easier on other people reading the code as well as preventing spaghetti code, aka the mode being a bunch of tangled lines that are extremely difficult to read. Not only that if the code wasn't organized it might not work properly. Organizing it makes sure actions happen in the correct order.
There was a lot I noticed was different between the 2 reviews. Firstly How each reviewer looked at the same game was interesting. One was more analytical about the performance and not the gameplay as much. The other reviewer however was different in looking at the gameplay a lot more in depth. They also had some different experiences. For example it stated in one review that there was worse performance than there was on the other review.
Looking at different perspectives helps a lot when trying to become a game designer. Seeing how other people interpret different games can make it easier to understand what makes games so enjoyable to play as well as how to move the industry forwards. It's also always important to look at different reviews to understand multiple perspectives. There are so many ways just looking at reviews for games you enjoy can really impact how you make games as a whole. For example if I was to make an action RPG I would want to look at reviews for different reviews for popular games that fall under that category so I understand what makes them so good. With that knowledge it will be easier to understand and create a better game then you would if you never read any reviews in the first place.
There are a couple ways I want the lore of my character to connect to the world I'm building. First of all I want my character to find a note that will lead him back to town. This will be the town I will soon build. Next I would like to add the forrest but thicker and make the path thin and eerie like I described before. This will complement the lore i created for my character greatly.
After looking deeper into the hero's backstory and appearance, I don't think I need to make any adjustments to the current character. There will definitely be a strong sense of cohesion between the world and their lore. I feel the hero aligns perfectly with the game itself. Now, I just need to adjust some elements of mood and such. All in all the character fits in pretty well it's just the mood that needs to be adjusted.
I would say mood will influence it the most. This is because of how I want the game to feel. It needs to fall hand in hand with the character. I want the game to feel dark, miserable, mysterious, and unforgiving. If it's just the character it wont make sense with the world.
Experimenting with lighting helped me a lot to understand the importance of atmosphere and how it can affect how people will experience you game. First off playing with the colors of the light makes such a huge difference. Having a warm color like orange or yellow makes the world feel warm or maybe cheerful. However, going with a faded purple gives off a depressing or cold feel to the world, like a feeling of dread. What you choose effects the atmosphere of the game so much and you don't realize this until you actually start to experiment with these things.
Baked lighting is like painting shadows and light directly onto your 3D models. If you move a lamp, you have to repaint everything from scratch. Lumen is a game changer because it calculates light bouncing instantly as you move things around. This means you don't have to wait hours for a computer to bake lighting anymore. As a designer, you get to see exactly what your game looks like while you're still building it. For the player, it means the world can have a dynamic day-night cycle or flickering lights that feel totally real. It basically brings movie-quality lighting into a game that responds to every move you make.
If the level didn't have the correct game mode a couple of things could happen. The HUD could just not show up at all or the player doesn't spawn leaving you as a floating camera. Game mechanics might also break and it just wouldn't work properly. Not only are these game breaking but they will ruin the players experience if you let a mistake like this slide.
The sculpting tool that I found the most useful was probably the sculp tool due to how versatile it is. I used it in many ways using all the different tools in sculpt like using noise to add texture to mountains or lowering the ground to make a river. Another tool that was particularly useful was the flatten tool. Using that tool it was a lot easier to create even ground and create mountains, or at least the basic shape of the path using mountains. The only downside with flatten is that it really stretches the textures and I need to use the smooth tool to make them look semi normal again and not as stretched.
There were a lot of challenges that I faced with working on making the landscape realistic. I wanted to add some noise to the path to make it look more natural but it was a lot harder than expected to get the exact way I wanted it. I had to repeatedly use noise and then smooth until i got to the result i wanted. I also used noise on the mountains to make them look more ridged. It kind of worked but I needed smooth it out some to fit with the artstyle.
I could use reference images in a bunch of ways to increase the realism of my world. First of all using reference for natural, real-world images to guide the density and distribution of trees, bushes, and rocks, rather than relying on uniform, artificial scattering. I could also use photos with light to understand how i can position lighting in my scene as a whole. It will also help when understanding materials or how the landscape would be with weather. This would also help understanding where to add scratches and blemishes to make the scene more realistic.
The easiest place in my landscape that I recreated was the final zone. It was super easy since it was just a square so it was easy to figure out. There was also the starting area near the lake. It wasn't too hard but the sculpt tool was a bit annoying to use sometimes. All in all the hill was pretty easy to make too since i just used a ramp and smoothed some edges.
In my opinion the most challenging areas were the mountains themselves. It's not that they're complex, or so I thought, but getting the mountains and textures to look the exact way i wanted them too was difficult. This was especially true with having to fix lots of stretched textures and that was a huge pain in the butt. I also didn't really follow the exact way the map looked so I had to interpret it in my own way which made stuff a lot harder. In the end it looked amazing, and better then what was presented, so I'm proud of how it turned out.
I would 100% improve the mountains. I know I said I like the way they look but it's not exactly how I want it too look. They're just not as mountain-y as I like. I would also add some more detail to the ground so it's not just flat and stuff. I would also really like to add a filter to the camera when underwater just to add the extra detail before the player is reset.
The easiest areas to paint were the bigger mountains that weren't as stretched as some of the others. It was a lot easier to paint on because the brush wasn't so stretched where I could barley add any detail. It was also super easy to just paint the ground because of how flat it was. It also wasn't stretched like the mountains. It looked a lot better too.
the most challenging areas was the connectors of the mountains and the ground. I wanted the grass to creep up along the side. I did my best to make it look not so choppy but it was no use. I tried everything I could. It was also really hard to make it look passable. There wasn't really anything else that was difficult.
There's nothing else I really want to improve. It looks good and I'm fairly happy with the result. Though if the edges of the mountain were less choppy that would be a lot better. Other than that though I don't have anything else I want to change. It looks really good to me and I'm content with the result.
I used natural barriers as well as paths in many ways when creating my world to guide the player as well as giving them boundaries. First off i used the gate to the (future) village to show that's where you're meant to go. Not only that I added a path to guild the player into the entrance from the hill. I also used the the dock and boat to point to where the player needs to go. It's not an explicit arrow but it catches the player's attention and leads their eyes to the land on the other side. This is subtle but makes a huge difference while adding tons of life to the world by making it feel lived in.
There were a couple ways I made my checkpoints unique. First off instead of just putting the checkpoint on the path I put them in unique places like the horse stable. Another place I put a checkpoint was in the middle of a resource gathering post. I added a lot of haybales and logs to make it looks like it's still in use. I also added a couple of tents as rest area for workers to make it seem more believable. Not only that I put a checkpoint at the entrance to the gate that leads to the castle. Its a platform that has a staircase leading to the intermontane plateau (basically a reverse plateau) where the castle will sit.
The Surroundings of checkpoints change the way the players experience the game in a lot of ways. After dying and going back to a place that's seems like a rest area gives the player a sense of calm and relief. The amount of checkpoints also have an effect on what the player does. If there isnt a lot of checkpoints the player tends to be mroe careful with their actions in a situation where they could die. If there were a lot of the however there would be a lot more carelessness since there isn't a huge penalty.
For me it was the object density that made the most difference. It made the trees not clip into each other at all. The spacing also added a lot of realism to the foliage. Another setting that helped with realism was scaling. adding trees with different heights made the scene so much more realistic. Tree's heights aren't uniform in real life so neither are they in the game.
Instead of the land feeling very empty and flat, the foliage breathed new life into the world. The plants added a lush and colorful atmosphere and having the world feel like stuff actually lives here. Not only that but the plants can add tension depending on the situation. If there is a tough or stressful situation trees closing you in adds tension to the moment. Alll in all it does quite a lot to the atmosphere of the level.
There were a couple ways I though about using the foliage to shape exploration. I settled, however, on having them act as a barrier to the player so they cant get to areas they're not meant to. I also added a secret path within the trees near the large house that will lead to a secret I'm working on personally. I though it would be clever so im doing it. This will add a lot to the heart that was put into this project.
I wanted to do something different then what was provided. I looked at some references like the castle from ocarina of time and a link to the past. I based the design mainly off of the one from ocarina of time but added the courtyard that was present in a link to the past. I used a lot of different models for the castle. Some very notable ones that are present are stone walls as the walls, stone fire pits as the pillars, cones with the tile texture on them I made myself, wooden foundations as the floors on the 2nd floor, the walls from the hour of code file (i think i don't remember). They were all used very well to create a super fun castle.
I didn't organize really. All I did was just place stuff. It's still pretty manageable for myself. I do admit i need to be better about organization for when I'm working with other people. Next time i will do a better job organizing assets.
There was one atmosphere I was going for. I was going for mysterious and abandoned. I created this effect using the lack of light, creeping plants, and ground seeping into the building. I also added some features like squatters and skeletons to really show that it's a pretty abandoned place.
Creativity is meant to subvert expectations. If you’re making a fantasy game, a forest with green trees is standard, but a forest where the trees are made of something like a crystal like organism and have it pulse with bioluminescence makes your world instantly memorable. Plus, variety prevents player fatigue. By mixing up building styles, color palettes, or even gravity physics across different zones, or in specific places, you keep the player in a constant state of discovery. It makes the world feel vast and lived-in rather than a repeated loop of the same three assets.
Players usually stop moving when they encounter visual friction or intentional beauty. This is often achieved through a lot of key elements. Environmental contrast is a big one. A single bright red door in a dull, grey alleyway acts as a visual magnet. Adding small details like a player sees a desk with a half-eaten sandwich, a knocked-over chair, and a flickering lamp, they stop because their brain starts trying to solve the puzzle of what happened there. It adds so many incredible small bits of subtle story telling. Lastly, Designers use framing reveal a massive, stunning landscape. This "wow" moment forces a natural pause in gameplay. A good example of framing is how in Breath of the Wild when you get out of the cramped shrine into a massive open world gave everything such a sense of wonder and amazement.
Props and buildings are essentially the world's narrators that don't say a word. You can tell a whole story through theh state of the world and where it is. A state of decay, for example, can show a building with boarded-up windows and overgrown vines to tell a story of a fallen civilization or a sudden disaster. However, a pristine building says wealth and order. Prop Placement is also very important. A single teddy bear left in the middle of a scorched battlefield tells a more emotional story than a thousand-word dialogue script. Having functionality or functional object can give insights on how a character was if they're gone. A room filled with scientific equipment and heavy locks could show us a character who was either brilliant, paranoid, or keeping a dangerous secret.
My world has the supports for the challenges shown in the video. It may be different but it does have everything it needs to create every step needed. When everything is implemented it will be really fun.
There are a couple adjustments that might be needed to make sure everything plays properly. The hill I plan to add the boulders is a bit small so I will probably need to increase the size of it to make a truly fun experience. I also probably need to add some more space near the castle to make everything work the way I want.
They should match the challenges of level 2 by keeping the same style of level to make things stay consistent
Adding ragdoll physics drastically changes the feeling of failure. Before you would just immediately respawn. There was no warning or tell sign that you died, only immediate respawn. Now with the ragdoll physics there is a feeling of failure. Showing the player that they died by having their character ragdoll really shows what happens and makes it feel like the character actually died.
There are a couple of changes I can make to update the difficulty of the sweeper arm. First and most importantly is changing the spin speed of the arm. IF the speed is higher it will be harder to dodge. This makes the level harder for the player. Another adjustment I can make is the size of the arm. The size of the arm makes it harder to dodge as well. Last thing I would do would be to turn it on the side and have the arm swing vertically to add a crazy challenge to the player because of how unexpected it is.
This first obstacle is great because its a classic rhythm-based obstacle. It acts as a metronome for my level. Plus, the way I'm implementing it tells the player exactly what kind of experience they’re in for. It's similar to the pendulum that's in the next lesson. It really sets the tone and what kind of experiences they're in for.
Adding pendulums to a sweeper arm challenge transforms a simple timing exercise into a complex spatial puzzle. The sweeper arm provides steady and predictable movement, while the pendulums act as a key of randomness. Players can no longer just find one rhythm. Instead they have to find a window where both paths are clear. It adds so much more depth to the level with the extra challenge then just having sweeper arms.
When you mix two different patterns like this, the risk of hits feeling pretty cheap is high. To keep it fair I did a couple things. First off if I add a path that helps players judge depth. If they see it and miss, they feel challenged but feel cheated if a player gets hit by something they couldn't see coming. I also created areas where the sweeper arm can't reach but the pendulums can (and vice versa). This gives the player a place to catch their breath and reassess the timing.
Stuff like adding a whoosh sound for the pendulums and a mechanical creaking for the sweeper arm allows players to track the obstacles using their ears while focusing their eyes on their character. This reduces cognitive load and makes the challenge feel a lot more satisfying.
The size and speed of the boulder are the primary levers for tuning player anxiety, where a massive boulder creates a sense of crushing inevitability by physically dominating the path, while high speeds compress the player’s decision window and force a visceral, panicked reaction. In my Boulder Hill design, I balanced safe zones by treating them as rhythmic breathers, placing alcoves at intervals that require the player to commit to a sprint, ensuring the danger feels constant while the safety feels earned. To improve fairness after playtesting, I adjusted the boulder’s collision volume to be slightly smaller than it was before, giving the player the benefit of the doubt on close calls.
The Boulder Hill hazard feels distinct from the Sweeper Arm because it is a linear, directional pursuit that tests spatial navigation and stamina, whereas the Sweeper Arm is a rhythmic, circular obstacle that prioritizes timing and verticality. Adding destruction effects, such as rock, shifted the feel of the challenge from a simple "avoidance" task to a high-stakes escape, giving the boulder a perceived weight and lethality that raw geometry lacks. My particle system choices focused on an attempt at having the boulder disappear into particles but no matter how hard i tried it didn't work i went over the video 7 times and nothing. Ultimately, visual effects serve as vital gameplay communication by highlighting the hazard’s destruction and showing that they have a chance.
The timed element shifts the challenge from having good reaction time to a race against the clock and with anticipation, making it feel fundamentally different from the Sweeper Arm or Boulder Hill. While the Boulder Hill creates a sense of constant flight and the Sweeper Arm demands serious rhythm, a timed gate forces the player to master planning, pathfinding, and bursting as core mechanics. This introduces a stop-and-go pacing that breaks up the continuous flow of the level, requiring the player to observe a pattern before committing to an action. The danger here isn't a moving object hitting the player, but rather the player’s own impatience leading them to mistime a window. Consequently, the tension comes from the internal clock the player develops rather than an external physical threat.
To balance the open duration effectively, I would focus on the buffer time provided between the moment the gate opens and the moment a player must reach it. If the duration is too short, the player feels they must have a perfect frame-perfect run, which often feels more like a chore than a challenge. I would implement a grace period for the gate's closing animation. This ensures that the difficulty stems from the player's timing of the start, not a struggle with the game's movement physics.
Timing-based obstacles can increase tension without feeling unfair by using clear anticipation cues that signal exactly when a state change is about to occur. For instance, using a visual winding up animation, a blinking light that speeds up, or a specific sound effect that increases in pitch helps the player synchronize their internal clock with the game's logic. Fairness is maintained when the player can accurately predict the moment of failure before it happens, allowing them to take accountability for a mistake. If the gate slams shut instantly with no warning, it feels like a "gotcha" moment; however, if the gate trembles and hisses before closing, the tension rises as the player sees their window shrinking. By making the "danger" predictable through secondary cues, the challenge stays intense while remaining mathematically fair.
The Abandoned Village was driven by a narrow-path sort of thinking with different paths that also add verticality to the level.With the buildings, walls and, fencing, the wooden stakes, log walls, and houses with steep roofs, act as funnels, forcing the player to stay on a specific track rather than cutting across the green spaces. I also utilized the natural canyon walls to create a contained feeling, ensuring the player can't simply bypass the village entirely.
If you look at the distance between the starting area and the ending gate, a few balancing tweaks happened. The first thing i decided to do was having the path not being a straight shot; it curves through the village. This effectively increases the time to get to the end without needing a massive map. I also placed the taller buildings and specific clusters of greenery in the middle of the obstacle course as visual checkpoints to help the player gauge their progress against the ticking clock. The clusters of dark props on the ground show areas where the player is going to die when they fall down. To balance the gate timer, I have thinned these out in the final stretch to allow for a final sprint to the end.
This, escape before the gate shuts, mechanic shifts the psychological pressure from precision to momentum. In previous challenges like the Narrow path with the sweeper arm, the threat is usually falling as you get closer to the end of the challenge. Here, the threat is the closing door, visible in the distance. Because the player can see the finish line from the higher vantage points, they are more likely to make greedy or hasty moves, trying to skip obstacles to save time, which often leads to mistakes. Not only that but falling in a standard challenge just means a restart. Racing a gate creates a photo finish sensation where the player is constantly thinking, "Am I fast enough?"
Ranged attacks like this are going to transform this part of the level from a navigation challenge into a combat-puzzle. When you only had parkour and gates, you were testing for jump distance and timing. Now, the player will have to test for safe zones. The player will likely find themself stopping mid-run to see if a house or a wall can block the ghost’s line of sight. In my previous village course, the flow was about speed. Now, I'm testing for a rhythm of Stop, Observe, Dash.
I could try to make some quick tweaks if I have time. If I set the Pawn Sensing distance so it slightly exceeds the player's natural camera view. If the ghost starts firing from a mile away before the player even sees the tower, it feels unfair. Something I learned a while back is to make the first shot slightly slower or less accurate. This acts as a telegraph to the player. If the fire rate is too high, the player gets stagger-locked too. Balancing it usually means giving the player enough time to sprint between two pieces of cover.
Adding that glowing character model inside the tower is a massive upgrade over a hidden or automated turret for a few reasons. First off, When a player sees a character holding a potion or projectile, the attack feels like a choice made by an NPC, rather than just a map hazard. It gives the player a specific target to focus their frustration on. Not only that but a glowing green enemy stands out against the dark wood of the tower. This creates a high contrast focal point that tells the player exactly where the danger is coming from.
If you increase the speed, the time to hit becomes smaller. This means the Target Future Position calculation stays closer to the player's current location. High-speed projectiles are actually easier to dodge via strafing because the ghost isn't leading the shot as much. However, they give the player less time to react. If the projectile is too slow, the ghost will aim way ahead of the player. A clever player can exploit this by suddenly changing direction right as the ghost fires, causing the projectile to miss by a mile.
Aim Offset is the best for fairness. By adding a bit of Random Float in Range to the aim, I am simulating the ghost being imperfect. It prevents the ghost from having aimbot, which can feel frustrating in a stylized game like this. Sensing Interval controls how twitchy the ghost is. If the sensing interval is too fast, the ghost tracks the player perfectly. Increasing the interval gives the ghost a "human" reaction time, allowing the player to juke the ghost's line of sight. Z-Offset is mostly for visual polish. You use this to ensure the ghost is aiming at the player's chest or head rather than their feet.
If I turn on gravity, my current Linear Prediction will start to fail because the projectile will travel in an arc rather than a straight line.To fix this, I think I need to change two things. first I could use a Suggest Projectile Velocity" node to account for the downward acceleration. The ghost would need to aim above the predicted point to really throw the potion. This adds a lot of skill to the enemy, as players could potentially run under a long-range shot.
While SightRadius and VisionAngle determine when the guy starts firing, TimeBetweenThrows usually has the biggest impact on fairness. You see, if the throw rate is too fast, the player feels overwhelmed and gets destroyed. They can’t move between pieces of cover because a new projectile is always in the air. If I find the sweet spot, the TimeBetweenThrows creates a rhythm the player can learn and exploit. This makes the part more fun.
For fast-moving projectiles like potions, OnComponentHit is pretty much always better than OnComponentBeginOverlap. Because overlaps are checked at the end of a frame. If a projectile is moving fast enough, it can actually "tunnel" through a thin wall between frames without ever triggering the overlap. And also if it overlaps with anything, including the tower its in it will immediately explode. OnComponentHit detects the impact and the the direction the surface is facing, which is needed if I want the potion to splash away from the wall it hit.
The blue mist explosion is a massive upgrade for player feedback. Before, a player might not know if they were hit or if the potion just disappeared. A mist cloud provides a persistent visual marker. If the player sees blue mist on the ground behind them, they know they just missed being hit. Making the mist start large and dissipate quickly could help. If it stays on screen too long, it clutters the player's view, making it harder to see the next obstacle.
The tension works best in the narrow pathways leading toward the castle entrance. Because the player is funneled between the blue-roofed houses and the canyon walls, the overlapping sight cones from towers placed on opposite sides of the road create a rhythm of movement. The player has to dash between the shadows of the buildings. It becomes unfair in the wide-open market square during the beginning because there is less vertical cover in the center of the road. the player gets hit by two towers getting completely overwhelmed.
The log fences and the market stalls are mymost effective blockers. These wooden fences act as hard boundaries that prevent the player from just hugging the canyon wall to bypass the ghost towers entirely. The Market Stalls are soft cover. They allow the player to see the ghost in the tower while providing a temporary shield against the potions. The white cloth also provides excellent contrast against the green trees, making them look like obvious safe zones.
After looking at the layout in the most effective adjustment was increasing the Height of the Towers while slightly decreasing their Vision Angle. By placing the towers higher up, you create a natural "blind spot" directly underneath the tower. This rewards aggressive players who manage to sprint close to the tower's base. It keeps the challenge high during the approach but gives the player a "breath of relief" once they reach the tower's shadow. This prevents the ghost from being able to fire straight down at its own feet, which usually feels glitchy or unfair to the player.
The most visible change I added was more Asset Density and Path Lighting. In the early spots, the level had felt a bit sparse. In the marketplace near the castle, I added rows of benches, market stalls, and gold coins to guide the player. The Peer feedback often highlighted the dead space. If a player feels like they are just walking through an empty canyon, they lose interest. Adding the market stalls provides cover and visual interest, making the world feel inhabited rather than just an obstacle course.
My idea that the Blue Roofs would act as a strong visual anchor was definitely confirmed. In every shot, no matter how much clutter I added, the player always knows where the buildings are. Though I did originally think that more obsticals = more fun, but the feedback challenged my Difficulty Curve. In the first section in the parkour, I moved the obsticals closer together and placed them at different elevations. without it being too cluttered that the level feels impossible.
The Castle Approach feels like the most improved area. Early on, the challenge was just get to the gate. Now, the challenge is a final gauntlet. I have the tall castle towers acting as the final stretch of danger. The marketplace providing tactical cover, and the lighting helps in creating a high-stakes atmosphere. All in all it feels less like a series of random assets and more like a Final Level. The transition from the low-ground village to the high-ground castle entrance gives the player a real sense of "climbing to the end" of the challenge.
I chose to expand the Guarded Marketplace between the abandoned village and the castle entrance by adding more market stalls, props, and lots of NPCs to bring the life to the world. In a guarded area, you need context. Adding the market stalls makes the towers feel like they are guarding something valuable. It also provides more organic safe spots. For me at least it feels much better to duck behind a fruit stand than a random invisible wall.
My additions significantly improve readability. In my earlier village build, the player had to guess where the safe zones were. Now, the white-topped market stalls and other props act as clear visual indicators of cover. The gold coins and the crowds of NPCs create a trail of breadcrumbs. Even if the player is panicking because a ghost is aiming at them, the placement of the props naturally pulls their eyes toward the castle gate. It changes the experience from a scary canyon to an infiltrating a busy town vibe.
I also balanced the decoration by keeping the main road relatively clear, while I have props on the sides like small markets and taverns. The center path is a distinct, wide-open cobblestone texture. This ensures that the player's movement isn't interrupted by clutter. The contrast and type of lighting used makes the warm sunset lighting to hit the canyon walls, while keeping the gameplay path in a slightly different shade.
I feel like the sound has the biggest impact on the players when they are playing. I have a couple reasons why I think this is. Starting off sound is what the players interact with the most. Sound is what makes the world feel alive and truly representing what is happening in the world. For example for the boulders in my level I want them to sound heavy and rocky since thats what they are. And the sound of grass as your walking on it really helps with immersion.
I plan to use these tool in a variety of ways. Adding sound to small details like running through the grass or hearing the hard stone as you walk through the tunnel will help a lot. Also adding the crackle to the fire in the burning village would be amazing to really sell the fact that the town is on fire. If I also add crickets and wind as ambience that would really sell everything as being a true ecosystem.
The most important connection I found between them is that they need to depend on each other and they form a loop. My main menu is its own dedicated level. It’s a specific scene that exists just to host the UI. The important connection is the World Settings, where you tell the level which GameMode to use. The controller is the bridge. By default, games are set up for a character to move. For a menu, the Player Controller must be told to show the mouse cursor and to set the input mode to UI only. Without this connection, mouse clicks won't register on the buttons. The widgets are the visual layer. However, the widget can't be created until the Level Blueprint is told to add the widget to viewport .
Adding a background, like the one presented, turns it from a boring start screen to a view into an immersive world. Using this colorful image, I'm communicationh a specific genre and mood. This prepares the player's brain for the type of mechanics they are about to encounter before they even click start.
The most important part of making a pause menu feel reliable isn't the visuals, it's the Input Handling. In Unreal Engine, when you hit the Set Game Paused node, everything stops. If you haven't explicitly set your Pause Widget or Player Controller to Execute when Paused, your Continue button literally won't work. Ensuring the UI can still use the Escape key to unpause. If a player hits pause and the game doesn't immediately respond or feels stuck, it breaks the sense of control.
Players experience a well-integrated pause menu as a safe breathing room. By using the same font and button style as my Main Menu, I can remind the player they are still in your world, even if the action has stopped. Plus since my game has a bright, airy theme, a pause menu that maintains a bit of that blue aesthetic feels like a natural extension of the gameplay rather than a jarring technical interruption.
Storing and switching widgets in the Player Controller (instead of the Level Blueprint) is a massive efficiency win for two reasons. First persistence, The Player Controller usually survives level transitions better than other actors. Second Centralized Logic, Instead of rewriting Open Level 1 logic in five different places, my Player Controller acts as the central hub. This adds to the efficency.
When moving from Level 1 to Level 2, you want the player to feel a sense of momentum. Seamlessness makes the world feel whole. If i could the Level Select menu feels like it's part of the same sky, and the transition into "The Canyon" happens with a smooth fade or a camera zoom, the player feels like they are traveling through a world, not just loading a file. I don't hvae the abilities to do that yet but I really wish i could.