The Obscura Bazaar
INTRODUCTION
This level focuses on delivering a combat experience with good pacing and smooth level flow, all set within a visually engaging environment supported by environmental storytelling. The level's environment serves not only as a narrative element but also as part of the gameplay and is used to guide the player.
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Players can approach enemy encounters in multiple ways - through direct combat, stealth, or using the environment to their advantage. One of the core gameplay elements is the sniper mechanic. After infiltrating the area, the player gains access to a sniper vantage point, drastically shifting the power dynamics between enemies and the player.​
PITCH
​"As a former thief turned retrieval specialist, continue your lost colleagues' mission. Get to The Obscura Bazaar, a black-market auction, and recover the valuable artifact before it falls into the wrong hands."
PROJECT DETAILS
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2 weeks half-time
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Unreal Engine
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IWALS Template by Jakub W
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Assets made by me in Blender and Unreal modeling tools
THE CONCEPT
THE IDEA STARTER
The basic idea of this level is based on an old assignment I had at The Game Assembly. The goal was to create an experience in which the player has to infiltrate an enemy base, retrieve an object, and escape.
As it was an assignment I enjoyed working on, I knew I wanted to make another infiltration project.
old assignment
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COMBAT EXPERIENCE
In this project, I wanted to focus on level flow and combat. I wanted to create a linear experience while encouraging the player to use stealth and shooting.
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​Right away, I knew I wanted the experience to include a sniper. I felt that including that would create a variety in the combat and support the tension curve I want to implement.
THE STORY
You play as a former art thief turned retrieval specialist, usually working on the sidelines. But when you lose contact with your colleague during a mission, you are sent to finish the job and find a valuable stolen artifact.
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The artifact isn't just valuable - it's rumored to be a key to an ancient vault containing otherworldly treasures. Finding the artifact is critical, as it's being auctioned tonight at a black-market event.
The Gilded Mask, a secretive black-market syndicate that specializes in selling stolen valuables to the ultra-wealthy, will host the event. The syndicate's enforcers are ruthless and will kill anyone who tries to approach the artifact.
THREE ACT STRUCTURE
ACT I
ACT II
ACT III
ACT 1: THE SETUP
THE SETUP
I almost always design my levels with a three-act structure in mind, and this level is no different. I chose this structure to establish a solid foundation for a level flow and enhance the player's sense of progression.
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In the first act, I want to focus on introducing the environment, objective, and mechanics.
Player Start
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THE OBJECTIVE
The level begins with the player receiving a briefing on the mission. They get information about the location and artifact, as well as a warning, as their colleague who was supposed to finish the mission has lost contact.
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The main objective is to recover the artifact and escape with it. However, the player is also encouraged to have a lookout for their lost colleague.
THE ENEMIES
The player starts on the theater's roof. They can spot one enemy through the window, instantly increasing the tension and preparing them for future confrontation.
The player is about to jump to the ground when a truck passes, turning into an alley beside the theater. As the front doors are too risky to enter, the player follows the truck instead.
Through the fence, the player spots an entry to the building and another enemy. The player now has to take down the enemy quietly so as not to alert the enemies inside.
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FORESHADOWING
The player now enters the area they've observed before through the window. As the player is aware of the enemy and the area, they enter cautiously. Hiding behind the counter, the player observes another enemy patrolling by the entrance and also the entry to the theater. The lack of cover in the area encourages the player to take out the enemies before continuing, as there is no chance to sneak past.
ACT 2: THE CONFRONTATION
THE CONFRONTATION
In the second act, I want to increase the difficulty, introduce new challenges, and evolve the combat element of the level. To do this, I chose to introduce a sniper.
One of the first elements I wanted to include in this experience was the sniper. I created the environment around that mechanic because I needed an indoor environment that supported that kind of gameplay. A theater was a perfect choice, providing ample open areas and plenty of cover options.
INTRODUCING THE SNIPER
After deciding on having a sniper and what environment I wanted to create came the next step: How do I introduce a sniper?
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Although I initially had some grand ideas on how to do this, I eventually decided to keep it straightforward and highlight the snipers' presence with a few simple elements: a dead colleague, activating spotlights, and a laser targeting the player.
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These elements combined created a simple but impactful moment in the level.
Sniper
THE THEATER
The player enters the dark theater and finds their way to the stage. On the exhibit stage, the player finds their colleague dead.
The lights on the stage turn on, instantly increasing the tension, and soon after, a laser points at the player. The player seeks cover behind the Auctioneer's Podium as they realise the sniper has killed their colleague.
From this hiding place, I wanted to show the player both short and long-term goals.
They have sightlines towards the sniper's balcony, the door leading to the sniper, and the entrance to the bar. Because of the darkness, the player has no option but to get to the balcony, as the sniper isn't visible.
THE BAR
The player gets a tension release before entering the bar area on the second floor. However, the windows toward the theater mean that the sniper is still a threat to the player.
In this area, I wanted to introduce a new feature: curtains. The player can use the curtains to block the sniper's sightline, making the area safer.
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However, additional guards monitor the area. Combining the sniper and guards gives the combat element another twist and increases the tension further.
CONTROL ROOM
The player reaches the sniper's location after taking out the last patrolling enemies.
As both player and sniper are ready for the confrontation, I wanted to avoid the door problem: having the player hide behind the door opening.
To encourage the player to enter the room, I placed plenty of covers for the player and the enemy and exposed the door opening.
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Lastly, the player takes out the sniper, picks up their weapon, and the act ends.
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ACT 3: THE RESOLUTION
THE RESOLUTION
In the final act, I wanted to allow the players to use their learned skills. This is done by allowing the player to take the sniper's vantage point, a position they have now earned.
The past encounters have prepared the player with knowledge that will now be useful. The player has learnt the sniper's weaknesses, the area's layout, what works as cover, and the enemies' behavior.
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THE ATTACK
After picking up the sniper rifle, the curtains on the stage open. Behind them, multiple enemies are revealed. The player now has to defend themselves with the newly acquired weapon. Taking the enemies out one after one.
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​Once the area is cleared, the tension is released. They descend a ladder and return to the theater's stage.
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THE END
The stage is filled with boxes containing valuable objects for the auction.
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The level ends with the player locating the artifact. Once found, the player can escape through the emergency exit backstage.
THE PROCESS
1. CREATING A FOUNDATION
The process began with a sniper. I knew I wanted an indoor level and needed an environment that supported the gameplay I wanted: open areas, plenty of cover, and much elevation.
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The ideas ranged from circus and theater to bathhouses. However, when looking for reference images, I found that I liked the classical vibe of a theater the most. I also felt like it was an environment that would blend well with my early ideas for the story.
Once the environment was set, I started to look into the different spaces I could include in the level. I had to have an outdoor space for it to be considered an infiltration story, but mostly, I wanted to include the classic signs at the entry.
Eventually, I settled on four different spaces: an outdoor area, a lobby, a theater, and a bar.
2. STORY AND LIMITATIONS
Next, it was time to set the rules for the build. This helped me stay on track. Then, I designed a level flow and, later, a top-down.
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In this build, I wanted basic enemies to patrol the areas, a sniper to follow the players' every move, and the player to take the sniper's place later. I also chose to add a feature that would block the sniper's view so the sniper wouldn't feel almighty.
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With the limitations and environment set, it was time to polish the story of the levels and the background.
However, the player didn't have a colleague to locate at this stage in the process.
3. THE FIRST SKETCH
After setting the level flow and storyline, it was finally time to start sketching.
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In this project, I decided to use a bubble diagram. I've done this in projects before, and it's a great way to get started without a blank canvas. This method gives me a rough layout of the area and which areas need to be connected. This approach also helps me stick to the flowchart's intended purpose.
The next step is to design a rough layout based on the bubble diagram for the entire level. This will help me get a more accurate image of the levels' size, event placement, and number of enemy encounters.
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After creating a rough layout, I go into more detail in each area. I look at enemy placement, patrol paths, and cover placement, but I also work on the general feel of the environment.
4. BLOCKOUT & ITERATION
The blockout process of this level was quick. It felt like all my pre-prod work had paid off.
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After collecting some feedback, I felt that I had to work on a couple of areas:
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The theater needed to be grander.
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The sniper needed a better introduction.
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The path to the sniper was unclear.
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The first problem was solved by making the area longer and broader. I also increased the elevation in the seating area to give a grand impression.
Working more with sightlines solved the third problem. The player enters the theater, immediately spots their colleagues, and approaches them. After the sniper is introduced, the player hides behind some of the covers on the stage. From there, the player will have sightlines that give them short-, mid-, and long-term goals. The short-term goal is the door towards the bar, the mid-term goal is the door leading to the control room, and the long-term goal is the balcony on which the sniper is located.
The second problem was solved by giving the player a secondary objective: find their lost colleague. Once they are found, the player is aware of the dangers in the area.
To make it even more apparent, I also used a spotlight that focused on the player, making them look up towards the sniper's location before their laser appeared.
5. WHITEBOX
The whitebox process for this project was a lot of fun. I aimed for a classic theater vibe while also infusing a sense of darkness.
To begin with, I compiled a list of all the environments I had designed and created an asset list of what I needed to achieve the vision, to later model in Blender.
I also modeled some of the more basic assets in the Unreal modeling tool, trying to downslope a bit.
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REFLECTIONS
​​I'm pleased with how this project turned out. I captured the vibe I wanted and created a lot of environment art for ambiance and storytelling. I enjoy this process very much, and minor details can make the most significant difference in how the level is perceived.
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I would have liked to spend more time on the combat element at this level. Although it was one of my focus areas in the beginning, it was sometimes sacrificed for a better level beat. I also would have liked to add one more encounter at the end of the level that would require the player to use the theater's seating areas as cover from enemies on the stage. It was a missed opportunity to utilize the environment even more in the gameplay.
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This piece has been a real speedrunner, as it only took 2 weeks to finish. Something that wouldn't have been possible if I hadn't done such an extensive pre-prod. It helped me start the process, and I never felt like I lacked inspiration or motivation. This project has given me a deeper appreciation for pre-production and more of an understanding of how I can use it to make the whole process smoother.