Mick Czarnecki Games
Nyctophobia
Psychological | Free
May '21- Jan '22
What if darkness itself was an obstacle?
Explore a lonely space station, trying to restore power, before it is all engulfed by Jupiter's shadow. Your character is terribly terrified of darkness, which claimed most of the station when the power went out.
Mind the high contrasts, and pitch black darkness are prevalent as they are intrinsic to the design identity.
Thoughtful making of space
How the geometry is structured to subconsciously guide the player.
the Kitchen
The first area the player enters, kitchen& aggroponics have the critical role of establishing the delicate balance of light and shadow that drives the gameplay.
Guiding the player to this objective and pointing out their next objective was particularly tricky.
For narrative reasons, I could not really use light to guide the player. Instead, to get the player to the kettle I relied on height variation, framing with props and a bit of colour. Interestingly, testers avoided walking through the lowered section altogether, improving the spatial flow of the space further
The next objective is the COMMS. It's critical that the player notices the objective so they know where they're heading. Testing showed the objective had to be highlighted far more than I initially expected, but was reliably obvious after the changes.
Trying to guide the player towards the kettle in a wide arc around the table, was at first done by having the table right in the middle of the room, and framing the kettle with the chairs. Though this worked in playtesting, the area was painfully flat.
For narrative reasons, I could not really use light to guide the player. Instead, to get the player to the kettle I relied on height variation, framing with props and a bit of colour. Interestingly, testers avoided walking through the lowered section altogether, improving the spatial flow of the space further
the CORE
This room, (the final challenge) is designed to draw attention an frame the centrepiece. While until now light has been a safe space, the core damages the player when touched. The player needs to be close enough to not be in shadow, but not so close as to touch the lethal ray itself.
The structure of the room is all about drawing the attention to the CORE. It bathes the room in an ominous red, with deep shadows around it. The room is very compact, forcing the player uncomfortably close to the danger. The masive asssembly dominates the room and the supports and siderooms frame it further.
Lighting in the core is using complementary colours - simultanously highlighting the dangerous core further and drawing the player to the switches used to end the game.
The idea behind the core was to create a final challenge and subvert the established light-shadow dynamic to increase engagement. While light is safe in the rest of the game, here the light is emmited by a powerful, unstable laser.
The structure of the room is all about drawing the attention to the CORE. It bathes the room in an ominous red, with deep shadows around it. The room is very compact, forcing the player uncomfortably close to the danger. The masive asssembly dominates the room and the supports and siderooms frame it further.
the Lab
This area is built around timed spotlights which create very clear cones of light. These activate in a sequence - forcing the player to time their movement to match the lights activating.
Highlighting the catwalk and drawing attention to the central area through lighting, this screen is structured so that the player is drawn to the objective and the path to it, naturally.
The lighting on the catwalk drop from the objective helps connect the two in player's perception. A strong light on the stairs helps break up their shape from the wall, so the players can spot them more easily
The first blockout showed it was nearly impossible to balance the run-and-run-back in a satisfying way, so the drop from above path was implemented instead. The objective area was also lowered so that the objective was clearly visible from the outside
Highlighting the catwalk and drawing attention to the central area through lighting, this screen is structured so that the player is drawn to the objective and the path to it, naturally.
the Storage
Meant to force the player
to push to their limits, this
late-game area is built around a single light, with 2 switches in visible yet uncomfortably far-off and dark areas. The player has to find the switches, then run to them and back to the light before running out of time.
Having one central light defined the storage. It took many iterations to make this switch just lit enough by the main light to be visible, while keeping the room as dark as possible to generate a sense of danger.
Since all the light originates from a single source, lighting undergone many, many iterations before the bounce lighting was light enough to be threatening but readable, but direct light provided a small, clear safespace.
At first, semi-transparent blocks were used to mark areas which weren't walkable, but didn't disrupt sightlines. These were later replaced with boxes on shelves for environmental storytelling.
Having one central light defined the storage. It took many iterations to make this switch just lit enough by the main light to be visible, while keeping the room as dark as possible to generate a sense of danger.
the Gym
Establishing the lever logic, the gym is all about redefining the room by changing the light conditions.
What path is possible at first, becomes deadly after flipping a switch.
The primary challenge was fitting the room between the lobby, comms, shuttle and lab. While it had to be in this part of the station for the progression to flow well, the surrounding rooms left little space available. A tower-like design was considered, but I decided to experiment with moving through the same space in different ways would be more sensible scope-wise
The centrepiece had to block movement while not blocking sightlines. The levers had to be instantly visible but would require skill to reach. Glass panes or a deep drop were considered, but they'd disrupt environmental storytelling of the gym. In the end, clutter props (treadmills) were used to block of that part of the floor.
The idea behind gym was twofold: establish the lever logic system to the player, and explore how a room can be re-contextualised without changing geometry.
The primary challenge was fitting the room between the lobby, comms, shuttle and lab. While it had to be in this part of the station for the progression to flow well, the surrounding rooms left little space available. A tower-like design was considered, but I decided to experiment with moving through the same space in different ways would be more sensible scope-wise
the Comms
The comms are the first
deep dive into the darkness.
Though the area is practically quite simple, it remains intimidating as most of the geometry is obscured by the deep shadows.
The comms are the player's first goal - they can be seen both from the kitchen and the lobby, as the player makes their way to their first objective. Building upon GYM's introduction of light logic, COMMS first establish, then test the player with rotating lights.
The comms underwent quite a substantial change from their initial design - though the lights remained largely the same, the geometry was broken up for better clarity, visual interest and player guidance.
As the ledge drop to bottom section needed to be more noticeable, the area around the checkpoint was reshaped, with a slanted ceiling- with the viewing platform on the tall end and the drop at the other. With the viewing platform showing the player their already visited areas and their next objective under them, the drop on the opposite side of the room should be clearly understandable. To make it even more so a wire is dragged across the floor and dropped off the ledge - mimicking player's drop
The comms are the player's first goal - they can be seen both from the kitchen and the lobby, as the player makes their way to their first objective. Building upon GYM's introduction of light logic, COMMS first establish, then test the player with rotating lights.
the Lobby
A safe haven from the ever-present darkness, the lobby offers a safe respite for the player and helps them reorient themselves about their surroundings.
As the player enters the lobby from the lower floor, they will go from a narrow corridor to an open plan of the lobby, dominated by the huge Jupiter. Hopefully lured by the sight, the players will proceed to the window, where they can see their next objective- the comms.
Though every care was taken to highlight the next goal from aggroponics, it was important to give a player a middle-point, where they could see that they are getting closer. The geometry of the lobby was designed to accomodate this.
Though the huge window was always a prominent feature of the lobby, it really lacked a geometric identity. Dividing the room through height - entrance and savepoint above, window below was a start, but clearly not enough.
As the player enters the lobby from the lower floor, they will go from a narrow corridor to an open plan of the lobby, dominated by the huge Jupiter. Hopefully lured by the sight, the players will proceed to the window, where they can see their next objective- the comms.
the Shuttle
Created from the secondary refuge space theory, and a war on 90* angles, the shuttle evolved into a very distinct geometry, while offering a relatively straightforward gameplay challenge.
The shuttle was developed from refuge theory (more on next slide). Although it succesfuly contrasts open and confined, dangerous and safe spaces.. it's frustrating. The large space feels too empty and uninteresting, while remaining quite small, the side rooms, the rotating light rooms are annoyingly small, rather than challengingly small. It would benefit from more iterations, but there was not enough time to improve further.
The idea behind the shuttle was to explore prospect-refuge space theory. To appeal to primitive survival instincts, it ought to double down on the contrast between the vast shadowy areas and small lit safespaces. Contrasting open and confined, dangerous and safe spaces to create interest and tension
Despite refining the shape, adjusting the obstacles and expanding the back section, the experience is lacklustre even if it stands out.
The shuttle was developed from refuge theory (more on next slide). Although it succesfuly contrasts open and confined, dangerous and safe spaces.. it's frustrating. The large space feels too empty and uninteresting, while remaining quite small, the side rooms, the rotating light rooms are annoyingly small, rather than challengingly small. It would benefit from more iterations, but there was not enough time to improve further.
Layout
iteration
Because no idea is great right off the bat.
Refining room shapes, corridor adjustments. Scraping minor rooms due to lack of time.
Considering more advanced shapes of the individual areas and ensuring they work together. Areas remain connected by small corridors.
Figuring out anchor points of the entire gamespace- placing objectives, keys and locks in positions that encourage movement.
Refining room shapes, corridor adjustments. Scraping minor rooms due to lack of time.
Absolutely tremendous, says the creator of the project, having no credible reviewing services available.
-Mick
No official reviews yet! Contact me to become a part of the beta testing!
-Mick
The sheer impact of this project has made me reconsider my entire future, opting to pursue a career in level design. Would play again.
-Mick
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