Ori and The Blind Forest - 2D Layout

2D Layout Overview

The following exercise for the level design class consisted of introducing ourselves to the world of 2D layouts. As simple as they may seem, they're instrumental in establishing a general idea of how a level will look and feel on paper, without immediately spending too much time on whiteboxing. The exercise involved conducting research for the game "Ori And The Blind Forest" and creating an original 2D layout based on elements such as gameplay mechanics, movement dynamics, obstacles, enemies, hazards and flow within the game. This hands-on application allowed for a practical understanding of how concepts learned in class could be applied to real-world game design scenarios.

Inspiration

I have never played Ori and The Blind Forest before. Nonetheless, through walkthroughs and a couple of online reviews, I managed to get a pretty solid idea of what the game is. However, as the game progressed, I kept thinking, where did all this inspiration come from? From astonishing nature-based art to immersive sound effects, this game definitely rang some bells. It reminded me of a very prestigious Japanese director named Hayao Miyazaki, whose career has been recognized for movies such as “Spirited Away,” “My Neighbor Totoro,” and “Howl's Moving Castle.” Coming up, you can see a comparison between a couple of frames from “Howl's Moving Castle,” and you can notice that the artistic look, the beauty of nature, and the colors connect to Ori and The Blind Forest. Additionally, a big chunk of the movie’s plot includes the relationship between magic and nature. Therefore, I can see that when it comes to creating or designing a level for a game, inspiration can be anywhere, not just from other video games.

Metrics

After capturing a screenshot from the walkthrough and applying the rubric that we created in class to it, I managed to gain a close understanding of Ori’s movement and its relation to the grid. I observed that each square in the grid equates to 1 Ori. Upon repeatedly watching the same jump, I noticed through the grid that Ori could not reach the top ledge. This implies that his jumping distance is approximately 10 Ori’s horizontally and 4 vertically.

It's important to mention that these calculations are based on a 1920 x 1080 screenshot and not on actual gameplay of the game (sadly, I don't have it). For the 2D layout itself, the metric system will be simplified to make it more understandable. Therefore, Ori's size will remain as 1 unit, his vertical and forward jump will be 3 x 4, and his double jump will consist of a total of 7 Ori’s.

Environment Reference

For my own level, I will be using this section of the game as a reference. It corresponds to the first hour of gameplay. For me, it's a moment where tight and wide spaces work together very well. I will implement that in my 2D layout to find an equilibrium between them. Nevertheless, it is an early stage in the game, so my job will be creating my own and adding complexity to it with additional items, enemies, and skills.

The core objective will remain the same as in most of Ori’s levels, which is to collect a certain number of keystones through a variety of puzzles and, lastly, taking them to a spirit gate.

Conclusions

• These initial sketches aren't just lines on paper; they're the essence of the immersive worlds we aspire to create. It's amazing how the basics lay the groundwork for the entire gaming experience.

• Learning and sticking to a grid system was a game-changer. It's not just about structure; it's a silent ally, guiding the design process bringing sense to the spaces we aspire to create.

• 2D layouts play a crucial role in understanding player flow, revealing issues such as too much backtracking, disrupted flow, and elements that just don't click. Rushing into building levels in the engine too early could turn these identified problems into a real time sink,