Zones L & N: The Short Lobby and the Zig-Zag Corridor

 The Short (Long) Lobby and the Zig-Zag Corridor

(Work in Progress)

SIDENOTE: Zone L (The Long Lobby) on the diagram has been re-designated as the Short Lobby to more accurately reflect its characteristics.

This Liminal, seemingly endless corridor on the Right side leads to the Long Lobby and Zig-Zag Corridor. 

Walking down the corridor reveals that, despite its Liminality, it does in fact have an end.

An end that leads to the Long Lobby; a large spacious room with an unidentifiable purpose other than to serve as a junction for the various branching corridors (to be completed). 

At the end of the corridor, cloaked in the darkness is the Zig-Zag Corridor (incomplete). This corridor, as the name suggests, snakes round. This should psychologically unsettle the Player, exacerbated by the darkness.  

Zone B: The T-Junction Hallway

 The T-Junction Hallway; the main shop floor for the Centre's Fourth floor.

(Please forgive a current lack of roof)

Exiting the comfort of the Security Office, the Player exits into the light...

…only to face the darkness beyond.

The floor's repeating tilework echoes the carpeted hallways of the Overlook Hotel in 'The Shining'.

A clock stuck at the 11-ish mark. Note, the clock's hands don't move. Is it broken or is the night eternal?  

Springing out on an unsettling angle, a bridge crosses the divide to the other side of the room. 

In the blackness below, the Player can see that there are further floors beneath them...

…but what's that in the darkness?

Along the Left passage (the side with the Security Office entrance) is a clothes store with it shutter up. 

Considering the otherwise emptiness of the Shopping Centre, isn't it odd that it seems to have lights in its windows?

In the windows are three ominous mannequins. I hope they all stay there!

A large open area with advertisement poster boards here conveys to the Player that this space is meant to allow numerous people to occupy this shop floor. Its current emptiness only adds to the Player's sense of loneliness.

Playing of Liminal Space, this long corridor on the Right side seems to almost go on forever as a result of how it has been lit.

The corridor on the opposite side (the Right) is equally Liminal, but is rather different in its approach. Rather than being seemingly endless, this corridor feels almost as if it is endless in that it is longer than the previous corridor. 

The journey down this corridor builds tension as the Player can see their objective, the window at the end, but must first pass through the light...

…and into the dark...

…and then back into the light.

…until they reach their goal. The passage from light to dark repeats itself several times, almost feeling to the Player as if they are passing through several micro-spaces rather than one singular game space; each patch of darkness rendering them almost blind and hopefully make them feel insecure.

 

Although impossible to see through a static image, by texturing the window with an animated texture, I have simulated rain. This implies to the Player that there is indeed an outside world and that the darkness without is that of night and not some empty void.

Zone A: The Security Office

 The Security Office; The Player's safe base.

The Entrance to the Security Office. Outside the Office is a bright light to serve as a beacon of safety for the Player; despite its gloom-filled interior, when they enter the Security Office they should feel a sense of relief and safety. Here they can take a moment to catch their breath and prepare for the next journey into the dark and the next scare. 

To give a sense of the passage of time and show that the Security Office is being used, I have put food on a table and waste on the floor. This also gives a clue as to the disregard the prior Security Guards have had for their post. Also, as an Easter Egg, I included a Freddy Fazbear's Pizza box. Additionally, as a subtle joke, I placed a watercooler with a wet floor sign...

despite the obvious lack of a water tank.

An office complete with vending machines. Graffiti on them suggest neglect and abuse. Who knows how long they've been there... and how fresh the contents are...

And a plant in a windowless office. Let's be honest. It's probably artificial.

Nice comfy (heavily worn) sofas for staff relaxation (stress-induced breakdowns). And who needs a window when you have such a calming painting to stare at?

 

A little Easter Egg... and perhaps foreshadowing this sofa's use?

The control centre. The Player will need to monitor the CCTV cameras from these screens and recharge their flashlight at this desk (this latter mechanic is dependant on the difficulty of the Blueprinting and Time Constraints).

To give the Player an idea as to how deep their character's interest is with the mystery of the Shopping Centre, I have placed a camera on the desk and shown how they have brought their own corkboard and attached it to the one already in the Security Office. Considering the amount of stuff already pinned to it, the character is clearly obsessed.

'Night Security' coming to life: Part 2

'Night Security' Progress

So far, I have built almost half of the Map for 'Night Security'. Ideally, the full game would have all floors to flesh out the game and expand the possibilities. However, for this proof-of-concept project, I intend to only have the one level. This is to be the top floor which will have the Security Office; the safe base for the Player and the floor with the least dynamic, more psychological scares.

Above: The Map so far as seen from a Bird's Eye View Perspective.

Below: The Map's intended design.

The next series of Blog posts will be on the spaces I have designed for my project. In separate posts, I shall describe the room and its purpose and go through the design choices I have made to bring it to life. I shall split the zones according to my spatial diagram from earlier in the project (See Below).

 

'Night Security' coming to life: Part 1

 Over the past few days I have been working on an Essay on how familiar architecture can be used to make Horror games scary, however, in the past two days I have started to bring the 'Night Security' game to life with Unreal Engine 5.

To make this jump from two dimensional to three dimensional game space, I used the map below:

Of this map, I have modelled the sections A and B, the Security Room and the Long T-Junction respectively, as seen below on this Bubble Map:

Below you will find a selection of images I have taken of the areas I have modelled:

An overhead view of the space I have modelled in UE5.

An image of the Security Room's interior

An image of the Security Room from outside, looking in towards the interior.

Images of the T-Junction space from different angles.

'Night Security' Upper Floor Level Design

 In researching Level Design, I learnt the importance of creating Bubble Diagrams to map out the outlines of each space that is to be included in the level as a whole. I learnt about Bubble Diagrams from: https://gamedevelopment.tutsplus.com/tutorials/a-beginners-guide-to-designing-video-game-levels--cms-25662.

Below is my first attempt at a Bubble Diagram.

After working out the desired composition of spaces (a fairly easy task as I didn't have a Client Brief restricting my design choices as I would have in both the fields of Game Level Design and Architecture), I created a Rough Map of the spaces. Traditionally, spaces of transition, such as corridors, may be left unincluded from a Rough Map for certain types of game (See the example in the link above); However, as my game makes heavy use of Architecture to build anticipation and dread, the corridors and corners become key spaces in their own right and are thus worthy of inclusion. A result of this inclusion means the spaces are more easily readable as to how the flow into one another. See the end resulting Rough Map below. 

I then reapplied my annotations to show what each space actually is, allowing for an easily understandable 2D map of the floor that could potentially be included in the game itself as a visual asset. Each space within the design has been considered carefully as to how the Architecture will cause/amplify feelings of fear, anxiety, vulnerability, isolation and anticipatory dread in the Player. Their spatial characteristics, such as ceiling heights, light level and how they could be a vehicle of horror situations has also been considered with their designs. Please find the end result below.

Horror Game Research, Entry One.

Horror Game Research, Entry One.

GAME 1: Anatomy

Game Name: Anatomy

Developer/s: Kitty Horrorshow

Released On: Itch.io

Release Date: 2016

Setting: Regular Home

Research Source: https://youtu.be/Wi-jKi7FR3g

Research:

• How the regular home can be compared to aspects of the the human body (hence the name, Anatomy).
• At 2:32, Markiplier says; "There is something strangely unsettling about all of this, but I can't put my finger upon it. So it's like a subtle expectation that something should've happened by now."
• Pictures of body parts/organs through medical scans as internal decoration.
• At one point in the video, Markiplier felt uneasy exploring the darkened upstairs as he felt he wasn't supposed to as the game had not directed him there yet. At 7:12, he says; "Hello? I guess I haven't gone upstairs yet. I don't like it. I don't like it. Ugh I don't like it. I don't like being up here. Okay, maybe there's no reason to be up here. Why would I be up here? I'm not allowed up here?" And at 8:29 he says; "See! the weird thing is like I feel better going upstairs now that I know that there's something up here to get, which is weird right? That's got to be weird. It was like I wasn't allowed to come up here before."
• Lack of stimulus and foreboding atmosphere causing dread and fear, creating a sense of horror - Markiplier says at 9:21; "This is weirdly creepy for nothing going on! There's absolutely nothing happening! Then why am I afraid in any way, shape or form? There's nothing happening. Absolutely nothing. There's nothing happening."
• The above is evidence of the Environment and the absence of Events creating horror through anticipatory dread.
• Absence of stimuli, darkness, a mundane task and a familiar architectural layout was all that was necessary to create unease.
• At 10:13 in the video, the Tape says that the basement is "the place we spend our childhood filling with monsters."
• Going through some places again, but now some things are different to how they were before; familiarity with the Environment prior to its change creates horror when it does change... and changes again.
• Anatomy Monologue Transcripts:

 https://www.reddit.com/r/literature/comments/u2xovt/the_anatomy_monologue_the_best_piece_of_horror/

• At 32:56 in the video, the Voice says this; "...because the truth is this. When a house is both hungry and awake, every room becomes a mouth."
• Markiplier says the following in the video at 38:35; "This though, was incredible. I have no idea how they managed to make that so creepy. You have to play this for yourself. Like, this is nuts! I, I can't be crazy, right? Let me know what you guys think of this down in the comments below. Like, there was just this perpetual sense of dread that just built and built. How did they get away with that?"
• At 39.05, Markiplier describes the game as follows; "That was, just like I said, a completely different experience from almost any other horror game that I've played. I've played horror games with great stories that were scary. I've never had a horror game with just an absolutely horrifying story. Where the entire experience was about this horrifying tale and you scared yourself the whole way, 'cos to be perfectly honest, that's what makes horror great is dread. Fearing what's around the next corner and I did that. So, kudos to Anatomy, kudos to the developer of Anatomy. Amazing! Loved it!"

Additional Research:

Game Name: Maple County

Developer/s: Thorne Baker

Released On: Itch.io

Release Date: 2021

Setting: Regular Home

Research Source: https://youtu.be/F4S2cALnxNg

• Using the hallway to frame the Antagonist.

(Research deemed too limited for use.)

Game Name: Discover The Ocean

Developer/s: Warkus

Released On: Itch.io

Release Date: 2021

Setting: The Ocean

Research Source: https://youtu.be/CNtQDkwJgzQ

• Using a drone camera as a means for the Player to see.

(Research deemed too limited and somewhat irrelevant for my goals.)

Game Name: Corpse Ocean

Developer/s: Akuma Kira

Released On: Itch.io

Release Date: 2020

Setting: The Ocean

Research Source: https://youtu.be/CNtQDkwJgzQ

• Game starts bright and open; gradually becomes darker and more claustrophobic.
• Minimalist style.
• Me: "I feel nothing." - The game was made in 10 days for the DreadXP Dredge The Depths Game Jam, and though impressive and interesting, did not evoke fear.
• Use of strange geometries at the end of the game, playing to the Lovecraftian flavour of the Jam.

(Research deemed to limited and somewhat irrelevant for my goals, despite my love of Lovecraftian

 horror.)

Game Name: Verso

Developer/s: LuTDC

Released On: Itch.io

Release Date: 2020

Setting: A House and its warped state in a reflection

Research Source:

• Mirrored realities.
• Simple but effective.
• Doors and keys; a simple premise of escape with a simple mechanic to enable it (hopping through mirrors at the right time to sneak past a patrolling Antagonist to gather the keys needed to open aforementioned doors).

Game Name: Do Not Take Your Eyes Away From The Red Fridge

Developer/s: Co5monaut

Released On: Itch.io

Release Date: 2020

Setting: A Basement

Research Source: https://youtu.be/mmAcwXm94rQ

• Low poly. Basement.
• Fridge steadily gets closer; anticipation and dread.
• Simple but effective Environmental Story-Telling.

Game Name: The Fridge Is Red

Developer/s: Co5monaut, 5word team

Released On: Itch.io

Release Date: 2020

Setting: A Basement

Research Source: https://youtu.be/BizH494DmJI

• Simple but effective mechanics like the previous game.
• The Fridge moves when you aren't looking directly at it whilst making ominous sounds/saying threating things.
• The Player's eyes close if the mouse cursor remains still for too long to simulate being over-tired.

Game Name: Group - 864 Training Program

Developer/s: Joe Capo

Released On: Itch.io

Release Date: Unknown

(Insufficient Data For A Meaningful Answer.)

Game Name: Home Invasion

Developer/s: Darkos

Released On: Itch.io

Release Date: Unknown

(Insufficient Data For A Meaningful Answer.)

Game Name: Home Invasion

Developer/s: Alpine Arts

Released On: Itch.io

Release Date: 2020

(Insufficient Data For A Meaningful Answer.)

Game Name: Iron Lung

Developer/s: David Syzmanski

Released On: Itch.io

Release Date: 2022

Setting: A Submarine, the 'Iron Lung'

Research Source: https://youtu.be/WPiCSsW-2as

• Cramped confines of a submersible/prison cell.
• There are no real changes to the Player's Environment besides a light showing the current oxygen level, increasing water leaks, water pooling across the floor, the rare fire and an extremely noticeable "change" at the end of the game.
• Lack of view to the submarine's outside Environment with exception to the photos the Player takes that appear on a screen in the cockpit after a short delay.
• Creepy sound effects, limited awareness and the vagueness of the sub's surroundings as well as what may potentially be lurking outside creates tension and dread.

Research From The Past Few Weeks...

 A fair bit of research I have conducted has been recorded in analogue form through pen and paper over the course of several weeks. Sadly, I didn't have the foresight to date my research, so it is all one big collection in my notebook. In  this post I will share the research that I feel is most relevant.

Tropes to also be aware of: The Featureless Protagonist, Purely Aesthetic Gender, Audience Surrogate.

Mechanics: 

Run, Toggle Flashlight On/Off, Recharge Flashlight, Trip Mechanic for Prolonged Running, Interact with Items, Interact with Environment, Switch between Security Camera Feeds, Put Away Torch, Collect 'Lore' Artefacts, Pin 'Lore' Artefacts to Security Room Wall, Pass-out from Antagonist Attack, 

Exposition of Protagonist's vested interest in working at the Shopping Centre from a text message sent prior to the Game's start; This also shows that the phone is out of signal range and therefore explains why the Protagonist is cut off from any outside help and any hope of rescue from their predicament until they are relieved of their shift the next morning.

Creating Horror in Games (Not Official Title):

(Original Source Misplaced)

Katie Nelson and James (no surname given) - Blueprint Games

Their game: Relapse

• Franz Kafka
• "Everything must happen for a reason."; No random unexplained events.
• Slow build-up.
• Story & Narrative.
• Keep the Environment interesting, avoid repetitive Game Environments.
• "'Witness' the events".
• Texture Environments to match different time periods like in Relapse; I could have multiple textures for locations within the Shopping Centre to reflect its state/use at different time periods in the Game World.
• Clichés: 

1. Dark Room with Flickering Lights
2. The Abandoned Building
3. The Ringing Phone
4. Sounds in the Dark

• Subvert expectations.
• The Four Elements:

1. Story and Environment
2. Relationships
3. Anticipation and Pacing
4. Moral Decision.

• Clichés > Reaction & Anticipation > Psychological Triggers > "Why am I feeling like that?" 
• (The feelings produced in the player by the stimuli.)

Anticipation and Pacing:

• Pacing = Tempo, speed of reveals.
• Antici...pation = Waiting for things to happen.
• Arc; Rising Conflict (Pacing) > Point of No-Return ("Calm Before The Storm") > Climax/ The Final Showdown.
• Build anticipation around a focal point in the Environment.
• Slow Burn; Don't give everything away at the beginning.
• Be unpredictable. 
• Pacing: Slow and meticulous.
• Introduce the Antagonist at the end; More effective scare. (I don't feel this has to be the case.)
• Like a rollercoaster; Slow build-up to a powerful release.
• Use hints; Sound/noise to build anticipation.
• DON'T GIVE EVERYTHING AWAY!!!
• Introduce Events slowly, meticulously and ensure it is well thought-out.
• Create enough space between Events to let the Player breath before the next one.
• Environmental Story-Telling; It's important.
• "Create calm before the storm...
• …THEN ALL HELL BREAKS LOOSE!"

Story-Telling and Environment:

• Story is king; It is what we remember when the action is over and the game is done.
• Tell the story of; The Environment, The Character/s and their relationships with each other. 
• (What is the Player Character's relationship with the Shopping Centre in 'Night Security'?)
• Level Design requires depth of story-telling that comes through in the visuals.
• LOCATION = Horror Cliché > A place with human history.
• Essential Questions:

1. Location? A Shopping Centre/Complex
2. Setting? The Present Day
3. Time of Day? Night
4. Season? Autumn or Winter

• What is the mood I am trying to convey?
• The Environment has to complement the Story and Purpose in mind.
• Collect reference images.
• Familiarity breeds the uncanny when things start to change. 
• Make the Player relate to the location to build identification, a physiological relationship and an emotional connection.
• The Player must relate to the Environment.
• Questions about the Environment:

1. How was it used?
2. Why/How did it get like this?
3. Where is everyone?
4. How was it created?
5. What happened to it?

• Think of emotional impact and how this story can be used to create more depth in your Environment and relate it back to the Character and Player.

Relationship:

• Shared Experience, such as Sadness.
• Connection.
• Some of the strongest bonds come from highly emotional circumstances.
• Try to make an emotional connection; Do it early and effectively.
• Consider the emotional consequences of engineering certain in-game scenarios.
• Losing people is more impactful than losing material or 'stuff'.
• Using a recurring 'something' to elicit the same emotional response such as sadness, melancholy, fright or the like.
• If something happens in a specific location, the Player will come to associate that area and any similar Environments with that experience; This is especially true if the experience was perceived as negative, such as a jump-scare in a bathroom will lead to all bathrooms being treated with suspicion by the Player.
• Music can be used to add high impact to emotional moments. That emotion can be fear.
• Player relationship to an area: They have been here before and are familiar with it; Something is now different about it > Uncanny, Perturbing.

Gamescourse.co.uk:

'Come in, over.' - Alex Haddow Mendes

'Bethmoora', based on Bethmoora (1910) by Lord Dunsany - Saia Winterson

'Space in Time' - William Butterworth

'Valley of the Kings' - Andrei Crimson

Horror Games suggested to me by friends for research purposes (Horror Games that made good use of their Environments):

1. Little Nightmares
2. Alien: Isolation
3. Slender: The Eight Pages
4. SOMA
5. Dead Space
6. Darkwood
7. Inscryption
8. The Last Door
9. Inside The Backrooms
10. Choo Choo Charles
11. No-Snake Hotel