Caleb Wilson
Level Designer
Level design is at its best when it guides the player so fluidly that they never have to stop and think about how I am guiding them, unless I really want them to. A level should reinforce what the game is communicating, whether that is a narrative beat, a shift in pacing, or a moment of intensity. The most rewarding part of the process is when all the little pieces finally come together, and I can finally say, “That feels like a level in a video game”
Narrowing my focus to a couple of mechanics at a time and putting together what is fun using those mechanics, then combining them until I have a whole level is the way I approach making level. From this exploration, I identify three principles of that game’s level design or its ‘pillars’.
It is easy to just make levels that are always trying to throw thing after thing at the player, but giving them the time to look around can be more impactful. Providing them with two different paths for each encounter one for a first encounter and another after gaining some competence, makes the player feel powerful which I think is very important.
Naming spaces early helps me give them their own micro narrative that makes designing them easier, it doesn’t really matter what the name is it just acts as a point for getting off the ground, and it makes them feel more ‘alive’. Being a senior in college, I am always looking for more to learn as I think there is always a way to improve.
This is filler text, it's not real and never has been. When our fore-fathers wanted to make some text this is not what they had in mind. Unfortunately this is what they get, so they can suck it.
A isometric Rouge-Like where you play as a Lexomancer casting spells by spelling words. I created small rooms with concise loops and interesting layouts in two different environments.
Challenge the forest in this first-person hunting game. A University project that was remade to demonstrate how far I've come as a designer.