The lost trident
Introduction
This level is built around level and boss fight design, where the player needs to use the trident mechanic to fight of the kraken.
The goal was to create en engaging and impactful experience for the player.
To achieve this, I have used a dynamic tension curve, with traces of the Ki-Sho-Ten-Ketsu principle.
Specification
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Developed in 7 weeks half time
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Software used: Unreal Engine 5, Blender
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Made using GASP template by Epic Games, modified by me
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Tentacle modelling and rigging by me
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Post Process effect by Kitt Holgersson
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Inspired by Aquaman, Subnautica and
A Midnight Walk
Trident
The main mechanics of this level are the trident and the tentacle. my goal was to make them function together symbiotically (being cooperative to one another).
In order to achieve this I have used a striking contrast in color, to make it easy for the player to connect the orange trident to the orange glow on the eye. Making it easy to remember their connection and which targets that can be hit by the trident throw. Since this will be the reoccuring main mechanic repeating throughout the experience I wanted the player to be able to quickly connect and react on the eye.
Tentacle
When designing the tentacle, one important key element for me was to make it feel interactive to the environment in several ways. I have achieved this by creating a surprising perceived path, through blocking the players way forward. Or destroying parts of the environment, forcing the player to shift their focus to stopping it.
At the same time I wanted it to function as a direct attack towards the player for the boss fight. In short, my goal was to make the tentacle dynamic and lifelike, in order to keep refreshing the way the player needs to approach it.
Main mechanics
The core functionality of the tentacle lies within the eye itself. It already had the ability to register hits and shift from open to closed. My thought process was that with a light source added, they would act like a great and clear target for the tentacle, which would also greatly fit my theme and overall mood.
Eye
Throw
In order to create the trident throwing I started with an actor using the rough shape of the final trident, with an added projectile movement. It spawns from the hand when thrown, this way it was simple and quick for me to iterate on the positioning and speed of the trident until it felt just right.
Once the eye was fully functional along with the trident. I could simply attach the eye to the tentacle, aswell as making it react only to when it collides with the trident.
This way I could quickly see it all come together as a united "symbiotic" mechanic. Giving it the lifelike feeling I was after.
Symbiosis
After the tentacle and the trident had captured my united vision, I started to prototype out several different types of events in order to find the ones I would wanna use throughout the level.
At first I had the idea of crafted several modular events using the tentacle, which could be reused in chains after eachother.
Through external and internal playtesting I found that these type of events gave a repetetive feeling and had little depth to them.
So instead of having many smaller events scattered throughout. I decided to focus on larger events, That would have more depth and thus grabbing the players attention more effectively.
This led me to focus on one large scale event, aswell as one bossfight.
Focusing on learning the player fundamentals and test their knowledge.
Concepting
The main focus of this piece was on the sequences, to create, iterate and refine them in order to get just the right feeling of impactful and high tension.
I started with trial and error of what types of sequences that would work. As my tentacle was fully modular, aswell as the fact that I already had the eye created from a previous project. It meant that I had alot of freedom with many possibilities.
Mood Board
Inspiration
Pre-production
I have been inspired by games such as Tomb Raider, God of War and The Midnight Walk (1). Mainly by their large scale and highly impactful scripted events. The underwater theme as in Aqua Man, Iron Lung and Subnautica (2) has always been amazing at creating mood and suspense through their eary, murky environments filled with mystery.
My goal was to use the natural suspense and mood that comes from this type of environment and combine it with large scale events to create an engaging experience, not only with gameplay, but also through the environment.
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2
ACT 1
Cathedral
In this act, the player gets introduced to the eary envioronment.
The focus is on traversal, aswell as introducing the player to the trident, which is the main mechanic. Along with the tentacle and their symbiotic mechanics
3
2
1
End
Start
Trident
pickup
Tentacle
encounter
Main path
Stone ground
Rocks
stone
structure
ACT 1
2
1
3
1
Landing
The player starts by the crashed submarine. Gets the chance to slowly take in the eary environment.
2
Cathedral
After a short traversal, the player finds the location of the trident, inside the old cathedral, stuck in the grasp of the old king. The powerful aura raises the tension.
3
Encounter
Lastly, the player encounters the first tentacle, learning the basics of the core mechanics. Peaking the tension before its release, with further traversal.
Level layout
ACT 2
Kelp Jungle
In this act, the player is forced into a more narrow space, with several tentacles and thus, a larger threat.
The focus is on high tension, aswell as playing around more with the trident mechanic, grabbing the players interest.
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3
1
Start
End
Trident
pickup
Tentacle
encounter
Main path
Stone ground
Rocks
stone
structure
ACT 2
1
2
3
1
stuck
The player drops down in a one way. A tentacle starts detroying a pillar, the player needs to act fast and hit the eye.
2
action
The player spots the exit, but a tentacle blocks the path, while a new one starts pulling on a pillar. now the player is stuck and needs to find and hit the eye to prevent the roof from caving in.
3
escape
While heading back, a third and fourth and final tentacle starts pulling on a pillar. After the eye has been struck, the tentacles retract, clearing the path for the player.
Shipwreck
In this act, we reach the final climax, where we reveal the full kraken. Instead of indirect attacks, they will go after the player head on.
The focus is on the twist of direct attacks, aswell as seeing how well the player has gotten the feel for the trident, forcing them to make quick decsions, for an exciting and fun climax
Start
End
kraken
Tentacle
attack
wood floor
wood
hull
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2
1
ACT 3
1
2
3
1
2
3
Reveal
When walking in the player gets a grand reveal of the kraken, creating a dramatic and impactful scene
Sweep
After the reveal, the player gets hit with the first attack, raising the tension high. Setting the tone for the fight
Slam
After the sweep comes to an end, the kraken sends out the final attack. THis time, as a final trial for the player, peaking the tension.
End
Climax
After completing the final attack, the player gets an opening to finish the fight, leading to getting rescued. Therefore ending with a good tension release.
ACT 3
Problem
In this section from act 2, the goal was to increase the tention through several tentacles causing destruction at the same time.
Through playtesting, the response was that it felt like an exciting section with all the destruction, but it did not feel engaging. They found it slightly boring to only walk straight forward.
Solution
Solution
After iterating on the problems, I tried to make the section feel more interactive and engaging, mainly through including my main mechanic. But also by adding a threat.
Now the players path gets blocked and they have to move quick in order to hit the tentacles off the pillars, so that the roof will not fall.
Problem
When designing the boss fight I wanted it too feel like an exciting climax to the experience, where the player gets the full reveal of the kraken and gets to put an end to it.
Another important aspect was to test if the player remembered what they have learned, by putting a twist on the mechanics. Instead of the tentacles attacking the environment indirectly. Now the attacks will face the player head on, forcing them to act quick and trust their experience, raising the tension to its peak.
In the first attack, the tentacles enter from the side walls, sweeping towards the player. In order to force them back, the players need to react quickly, hitting the eye while its moving quickly towards them. This adds a moving element to the attack, making it feel more dynamic and aggresive.
Attack 1
In the second phase, the player faces three tentacles emerging from below with their eyes closed. Two of the tentacles slam down, and the player must reposition to the one that remains suspended. After a short delay, this tentacle will also slam down, while another tentacle opens. The player must then move to the next open spot. This pattern repeats once more.
As the sequence progresses, the player is forced into the center with no open spaces left on the sides. When the tentacles begin to slam, the eyes open, providing an opportunity for the player to strike. Hitting the eye forces all tentacles back down.
This phase emphasizes momentum and anticipation, requiring the player to remain agile and responsive.
Attack 2
The end
After the attacks come to an end, the kraken opens up its tentacles, exposing the main eye to the player. Giving them the chance to strike and end it. Letting the Submarine drive forward to rescue the player to safety.
Boss fight
Closing thoughts
This project was a big risk, as it pushed me into unfamiliar territory. I had to adapt quickly, learning new skills on the go to bring my vision to life. From designing mechanics that fit the environment’s mood to exploring animation workflows, every challenge was an opportunity to grow.
Working on such an ambitious project made one thing clear—good planning is everything. Defining key features, estimating time accurately, and recognizing when to cut or refine scope kept the project on track.
I’ve learned that in game development, less is often more. A few well-polished features will always outshine an overloaded design. As Bruce Lee said, “I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.”
OBS: I am part of The Game Assembly’s internship program. As per the agreement between the Games Industry and The Game Assembly, neither student nor company may be in contact with one another regarding internships before April 23rd. Any internship offers can be made on May 5th, at the earliest