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Koriel Kruer
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XING: The Land Beyond

Environment + Level Design for The Desert of Naar

Screenshots from XING: The Land Beyond

My role was to create levels from paper to editor. I loved creating vistas, but mostly stuck to smaller cozy spaces due to optimization necessities. My job was to create the landscape and sculpt it, then place all the meshes on top, from architecture to plants to gameplay elements, in ways that were both beautiful and also guiding for player from one zone to the next. My level design includes purposeful occlusions (aka big rocks) of other level areas, as well as thought-out foliage placement for the most bang for our buck at every detail level. I also created puzzle zones, and helped come up with and implement puzzle designs, which were fully integrated into the environments. My ultimate goal was to have each level be beautiful and satisfying, with something always available for the player to do. I worked with 2 other teammates to come up with ideas on what we thought would be fun and look cool.

In the area the poetry mentions towers, so I needed to make a backdrop that fit. I used meshes created by John and James to set the scene, and made sure this time of day would be set.

In the area the poetry mentions towers, so I needed to make a backdrop that fit. I used meshes created by John and James to set the scene, and made sure this time of day would be set.

This is the first area where the player uses wind, so we set up a simple example in blowing open the doors, thereby teaching the player what they can do. Of course I wanted it to be pretty.

This is the first area where the player uses wind, so we set up a simple example in blowing open the doors, thereby teaching the player what they can do. Of course I wanted it to be pretty.

We agreed to make this desert environment a blend between a Sonoran and Saharan desert, with foliage related to both. You'll see more examples of that in this album.

We agreed to make this desert environment a blend between a Sonoran and Saharan desert, with foliage related to both. You'll see more examples of that in this album.

We blocked out the intro canyon in 2014, with old meshes and the landscape tool. This was before we had puzzles planned out, so it was more to get an idea for the "look" we wanted, and basic level design in 3D.

We blocked out the intro canyon in 2014, with old meshes and the landscape tool. This was before we had puzzles planned out, so it was more to get an idea for the "look" we wanted, and basic level design in 3D.

Here's yet another example of making our buttons point toward what they affect. Designing puzzle elements to be clear to the player was important for making sure they understood what they could do.

Here's yet another example of making our buttons point toward what they affect. Designing puzzle elements to be clear to the player was important for making sure they understood what they could do.

I enjoyed setting up these silhouettes and scenes that players could see when they looked up to the skyline.

I enjoyed setting up these silhouettes and scenes that players could see when they looked up to the skyline.

I had "Pride Rock" in mind when I decided to set this treasure box on a slanted ledge. It's in clear view to the player as an objective, and also looks cool! ~~ITS THE CIRCLE OF LIFE~~

I had "Pride Rock" in mind when I decided to set this treasure box on a slanted ledge. It's in clear view to the player as an objective, and also looks cool! ~~ITS THE CIRCLE OF LIFE~~

More references here, but this time the Disney movie is Aladdin. I sculpted this lion head to use as a cave entrance, to give the "Cave of Prophecy" a more distinct and important feeling. It's also a running theme in XING to walk through giant mouths.

More references here, but this time the Disney movie is Aladdin. I sculpted this lion head to use as a cave entrance, to give the "Cave of Prophecy" a more distinct and important feeling. It's also a running theme in XING to walk through giant mouths.

After passing through a puzzle door, the player is welcomed by this "epic" scene, with torches, waterfalls, rivers and giant statues. I built this cave to give a sense of grandeur to the player, as they made their way closer to the King's temple.

After passing through a puzzle door, the player is welcomed by this "epic" scene, with torches, waterfalls, rivers and giant statues. I built this cave to give a sense of grandeur to the player, as they made their way closer to the King's temple.

I wanted to make sure there was a little window for observant players to notice this bonus item, so I opened up the ceiling in the giant cave.

I wanted to make sure there was a little window for observant players to notice this bonus item, so I opened up the ceiling in the giant cave.

This puzzle was made by a teammate, and my job was to get rid of all the gray boxes and move around meshes to make it fit into the surrounding environment. It's a complex puzzle, so I tried to simplify it for the eyes as much as possible.

This puzzle was made by a teammate, and my job was to get rid of all the gray boxes and move around meshes to make it fit into the surrounding environment. It's a complex puzzle, so I tried to simplify it for the eyes as much as possible.

The initial idea for the end area in the level. We ended up keeping the idea of puzzles being part of "interior" spaces, (we added skylights and then just fully opened up ceilings later), but changed the outer structure entirely.

The initial idea for the end area in the level. We ended up keeping the idea of puzzles being part of "interior" spaces, (we added skylights and then just fully opened up ceilings later), but changed the outer structure entirely.

In 2015 we started realizing that it would take us too much time to create yet another architecture pack all on our own, so when I found this dungeon pack by SilverTM on the Unreal Marketplace, I presented it to my teammates as a possibility to modify.

In 2015 we started realizing that it would take us too much time to create yet another architecture pack all on our own, so when I found this dungeon pack by SilverTM on the Unreal Marketplace, I presented it to my teammates as a possibility to modify.

The photo on top is from the marketplace, as an example of how someone can use the architecture set. The dark greys weren't what we were going for, so I brought the image into Photoshop to show my teammates the potential I saw for XING.

The photo on top is from the marketplace, as an example of how someone can use the architecture set. The dark greys weren't what we were going for, so I brought the image into Photoshop to show my teammates the potential I saw for XING.

One of the things James added to this building set was this metal "window", which acted as a boundary for the player, but allowed me as the level designer to show them things they might need to know outside the room they were in. Happy little snek.

One of the things James added to this building set was this metal "window", which acted as a boundary for the player, but allowed me as the level designer to show them things they might need to know outside the room they were in. Happy little snek.

These giant metal tubes run all throughout the final temple, and must each be turned "on" by solving separate puzzles, to open the last Puzzle Door. Enjoyed "snaking" them around the temple, end eventually made them into snakes :)

These giant metal tubes run all throughout the final temple, and must each be turned "on" by solving separate puzzles, to open the last Puzzle Door. Enjoyed "snaking" them around the temple, end eventually made them into snakes :)

The 4 metal snakes are all off when you first enter this main room, and one is available to turn "on" almost right away. This "air-running-through-the-pipes" door design was inspired by a fire temple door in an episode of Avatar the Last Airbender.

The 4 metal snakes are all off when you first enter this main room, and one is available to turn "on" almost right away. This "air-running-through-the-pipes" door design was inspired by a fire temple door in an episode of Avatar the Last Airbender.

I enjoyed using symmetry in my designs around the final temple to strengthen that man-made feeling, since most of the game is outdoors.

I enjoyed using symmetry in my designs around the final temple to strengthen that man-made feeling, since most of the game is outdoors.

This is part of the ongoing poem I wrote for the desert character Sarid, and I made a point of setting up these small tableaus to match the words that were spoken.

This is part of the ongoing poem I wrote for the desert character Sarid, and I made a point of setting up these small tableaus to match the words that were spoken.

The ending throne room was yet another room we struggled with. Eventually, we came to the idea of using this dark black marble as a way to visually show much of the decadent darkness in Sarid's heart, as he would have been the one who designed it.

The ending throne room was yet another room we struggled with. Eventually, we came to the idea of using this dark black marble as a way to visually show much of the decadent darkness in Sarid's heart, as he would have been the one who designed it.

Ending shots are important for helping the player remember what happened, and I really like how this simple scene turned out. From the bare rock against the reflective stone floor, to the torches that light up the mural - I am quite proud.

Ending shots are important for helping the player remember what happened, and I really like how this simple scene turned out. From the bare rock against the reflective stone floor, to the torches that light up the mural - I am quite proud.

This is the final version of the map of the Desert of Naar that we gave to our Kickstarter Backers. The brown dots mark the beginning and end of the level.

This is the final version of the map of the Desert of Naar that we gave to our Kickstarter Backers. The brown dots mark the beginning and end of the level.

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