Environment Design Project 2

on

  ENVIRONMENT DESIGN PROJECT 2

|| Leong Hui Xuan 0365793
|| 20/04/2026 - 26/07/2026 (Week 01 - Week 14)
|| Bachelor of Design in Creative Media (Entertainment Design)
|| GCD61904 Environment Design
|| Project 2 Interior and Set Design


Table of Content

  1. Instruction
  2. Progress
  3. Final Outcome 
  4. Feedback
  5. Reflection

INSTRUCTION

PROGRESS

In Project 2, we were required to develop and design the interior environment. For my concept, I decided to create an underground dungeon-style ruin that functions as both an ancient memorial site and a boss arena.

The interior remains were designed to commemorate the relationship between the ancient Zora Queen and the Zonai, showcasing their historical connection through architectural elements, environmental storytelling, and hidden remnants of their civilization. The space combines a mysterious underground atmosphere with ancient technology, creating an environment that reflects both the emotional significance of the memorial and the gameplay purpose of an arena.

MOODBOARD

SKETCHES

I explored two different concepts for the interior structure. The first concept is designed as an open underground environment with an outdoor-like atmosphere, featuring a two-level structure that provides more vertical space and opportunities for exploration.

The second concept focuses on a more enclosed underground interior style, creating a deeper dungeon-like feeling with a stronger sense of mystery and isolation. 

After consulting with Sir Kannan, I decided to choose the first concept as the final interior structure. This concept provides more opportunities for gameplay development and environmental storytelling due to its open underground layout and multi-level structure.


CONCEPT

The interior is divided into two levels. The upper level serves as the entrance area, where players must first solve a puzzle to stop the waterfall above. Once the waterfall has been shut off, they can use the rope at the central platform to descend to the lower level.

The second level serves as the arena for the boss battle. Players can summon the boss by pulling the weapon embedded in the center of the floor. This action activates the central platform, triggering the boss to emerge from beneath it.

[ Mechanism and Puzzle for the Waterfall ]


For the interior environment, players will enter the underground ruins by descending from the top of the mountain through the Magnetic Power Lift. The lift platform is positioned in the middle of a large pond, allowing water to naturally leak into the underground area and create a connection between the exterior landscape and the interior ruins.

After reaching the underground level, players must navigate toward the central platform, which is surrounded by flowing waterfalls. To access the platform, players need to solve an environmental puzzle by interacting with a mechanical device that rotates to close the water gaps and control the water flow. By sealing the openings, players can prevent the waterfall from blocking the path and safely jump across to reach the central platform

Props and Hero Object



I then explored the design of the main gate and modular pieces to better understand their scale and placement within the environment to help me develop my compositions later.


I also designed a mural to illustrate the origin of the friendship between the ancient Zora's Queen and the Zonai.


COMPOSITIONS AND VALUE STUDIES
These compositions showcase different camera angles and perspectives for each floor of the interior environment.


AMBIENCE APPLY

I then apply the ambience to my compositions and choose 3 to add more details.


DETAILS



PHOTOBASHING

This is my final output composition with photobashing.


VERTICAL SLICE


This is the Vertical slice with the assets breakdown.


FINAL OUTCOME



FEEDBACK

While developing the modular pieces, Sir Kannan encouraged me to think more deeply about the player experience, particularly how players would travel to the lower floor and how the environment could better communicate its narrative. To strengthen the storytelling, I also added more environmental details such as hanging banners, moss, rocks, and overgrown vegetation. These elements help convey the age of the ruins and suggest that the site has been abandoned for centuries, creating a stronger sense of atmosphere and history.

In addition, Sir Kannan advised me to study more visual references instead of relying on a single source of inspiration. By analysing different references and combining their strengths, I was able to develop more original and creative design solutions that better fit the world and narrative of my environment.


REFLECTION

In this project, I enjoyed the design process much more because I had already established a clear and understandable concept from the beginning. With a strong foundation, I was able to focus on developing the environment, refining the gameplay flow, and improving the overall visual quality of the scene.

The most challenging aspect of this project was developing the environmental narrative. Since I have limited experience designing dungeon or underground cave environments, I initially struggled to decide what details and elements should be included to strengthen the storytelling. I found it difficult to create a believable space that could communicate its history and purpose naturally through the environment itself.

During the consultation, Sir Kannan shared valuable advice on how to improve this aspect. He explained that strong environmental storytelling often comes from observing real-life experiences. By exploring nature, studying how people live, and paying attention to the details found in real environments, I can gather inspiration and adapt those observations into my own creative designs. This feedback changed the way I approach environment design and encouraged me to rely more on observation rather than imagination alone.

Overall, I am satisfied with the outcome of this project and can see my improvement compared to the beginning of the semester. My design process has become more structured, and I have gained a better understanding of composition, gameplay flow, and environmental storytelling. Although there is still a lot to improve, especially in creating stronger narratives and more detailed environments, I am proud of the progress I have made and will continue developing these skills in future projects.

Comments

Post a Comment