T_SOS_Logo_WithLogo

Delve deep in this Narrative-driven Horror Game filled with Cosmic Nightmares.

Play as Alexandra, a follower of The Constellation who travels to the Seminary of Sight in search of God’s guidance, which is sealed away by the red-clothed Blinding Ones.

T_SOS_Logo_WithLogo

Delve deep in this Narrative-driven Horror Game filled with Cosmic Nightmares.

Play as Alexandra, a follower of The Constellation who travels to the Seminary of Sight in search of God’s guidance, which is sealed away by the red-clothed Sightless Ones.

T_SOS_Logo_WithLogo

Delve deep in this Narrative-driven Horror Game filled with Cosmic Nightmares.

Play as Alexandra, a follower of The Constellation who travels to the Seminary of Sight in search of God’s guidance, which is sealed away by the red-clothed Blinding Ones.

Arrow_Seminary2

ROLE

Lead Designer /
Gameplay designer /
Level Designer

DATE

January 2019

PLATFORM

PC

SOFTWARE

Unreal Engine /
Maya / Photoshop

Arrow_Seminary2

ROLE

Lead Designer /
Gameplay designer /
Level Designer

DATE

January 2019

PLATFORM

PC

SOFTWARE

Unreal Engine /
Maya / Photoshop

Arrow_Seminary2

ROLE

Lead Designer /
Gameplay designer /
Level Designer

DATE

January 2019

PLATFORM

PC

SOFTWARE

Unreal Engine /
Maya / Photoshop

ttp_01ProjectOverview

The Seminary of Sight is a Narrative-driven Cosmic Horror Game; it tells the story of Alexandra, a young priestess who follows the beliefs of The Constellation and travels to the Seminary of Sight in search of God.
The game tells an otherworldly tale about the consequences of following your beliefs blindly and without hesitation.

In this First-Person horror game, players are tasked to outlive God’s tests of loyalty in their journey towards the Path of the Stars, while red-clothed creatures known as The Blinding Ones chase the player with every intent of snuffing out your life.

Players can utilize the terrain to move around and avoid the hazardous red cloth spread out in the seminary that obstructs the way forward.
Utilize Alexandra’s ability to observe celestial fragments in her mind to solve puzzles and adapt through dangerous, otherworldly environments where your faith and resolve are constantly tested.
These fragments are hidden throughout the ever-changing environment and need to be found to open up pathways previously blocked by The Blinding Ones.

The Seminary of Sight is a Narrative-driven Cosmic Horror Game; it tells the story of Alexandra, a young priestess who follows the beliefs of The Constellation and travels to the Seminary of Sight in search of God.
The game tells an otherworldly tale about the consequences of following your beliefs blindly and without hesitation.

In this First-Person horror game, players are tasked to outlive God’s tests of loyalty in their journey towards the Path of the Stars, while red-clothed creatures known as The Blinding Ones chase the player with every intent of snuffing out your life.

Players can utilize the terrain to move around and avoid the hazardous red cloth spread out in the seminary that obstructs the way forward.
Utilize Alexandra’s ability to observe celestial fragments in her mind to solve puzzles and adapt through dangerous, otherworldly environments where your faith and resolve are constantly tested.
These fragments are hidden throughout the ever-changing environment and need to be found to open up pathways previously blocked by The Blinding Ones.

One of the hallways that Alexandra explores in search of God
ttl_02Story

Throughout the ages, deep in the outer regions of space, lies The Seminary of Sight.
This Seminary is devoted to the All-Seer; a God who sees everything in existence and uses the stars to see and speak.
Constellists, followers of the All-seer, travel to the seminary to seek guidance from their god, with hopes of being worthy to enter “The Highest Place”.

This tale follows a young woman named Alexandra during the 19th century.
After finding old manuscripts that tell of the existence of The Seminary of Sight and its true nature, Alexandra is kicked out of her priest’s group.
Sticking to her beliefs, Alexandra sets out to perform the rituals necessary to travel to the seminary to prove her loyalty to the All-Seer and find a place in his Highest Place.

After arriving at The Seminary of Sight, Alexandra is distraught and confused.
The whole seminary seems cold and isolated. It seems a group called “The Blinding Ones” has overtaken the seminary and sealed off contact with The All-Seer.

Undeterred by this situation, It is now up to Alexandra to outlive the All-Seer’s ultimate tests of loyalty, make her way through the ever-hostile Blinding Ones, and find the long-lost Path of the Stars to finally escape the terrors placed upon her path and find the way to The Highest Place.

Throughout the ages, deep in the outer regions of space, lies The Seminary of Sight.
This Seminary is devoted to the All-Seer; a God who sees everything in existence and uses the stars to see and speak.
Constellists, followers of the All-seer, travel to the seminary to seek guidance from their god, with hopes of being worthy to enter “The Highest Place”.

This tale follows a young woman named Alexandra during the 19th century.
After finding old manuscripts that tell of the existence of The Seminary of Sight and its true nature, Alexandra is kicked out of her priest’s group.
Sticking to her beliefs, Alexandra sets out to perform the rituals necessary to travel to the seminary to prove her loyalty to the All-Seer and find a place in his Highest Place.

After arriving at The Seminary of Sight, Alexandra is distraught and confused.
The whole seminary seems cold and isolated. It seems a group called “The Blinding Ones” has overtaken the seminary and sealed off contact with The All-Seer.

Undeterred by this situation, It is now up to Alexandra to outlive the All-Seer’s ultimate tests of loyalty, make her way through the ever-hostile Blinding Ones, and find the long-lost Path of the Stars to finally escape the terrors placed upon her path and find the way to The Highest Place.

A dark hallway that leads to a room with mural drawings
ttl_03Development

On The Seminary of Sight, I was a Lead Designer & Level Designer.
The duration of the project was 20 weeks with a team of 15 members.

My duties included:

  • Designing and producing 3 different levels
  • Maintaining work breakdowns and user stories for the design department.
  • Provide feedback and guidance to the design department.
  • Team-Management and planning guidance
  • Overseeing the overall Game / Level Structure
  • Conceptualizing and prototyping gameplay elements
  • In-game event scripting
  • Overseeing playtests and handling feedback

Our goal with this project was to produce a small horror game that would focus on producing a horrifying, yet alluring, world and narrative about religion and the dangers of blindly following your beliefs.
We aimed for a high-quality development cycle with a set plan and a large team.
To accomplish this, we set out to write the narrative of the game first and marked any key moments that needed to be implemented.
This way, we could more easily determine the priorities during the game’s development and plan out what scenario would fit each level of the game.
The team structure was made up of designers, artists, developers, and a narrative writer, each of which had a team lead who would guide and plan out their teams’ development progress.

We quickly determined that the game would feature an enemy that would stalk the player during specific moments.
This creature would be made from red cloth, with the ability to hide through other cloths that decorate the halls of the seminary.
This seemed like a natural fit for this environment and a fun way to create tense situations where you can’t trust your surroundings for fear of being attacked at any moment.
We also toyed with the idea of having this red-clothed creature be able to change its shape (because of its unidentified form underneath the cloth), but this was deemed too taxing on our development schedule.
To have control over how certain scenes play out, we decided to have scripted scenes for important story moments and unscripted gameplay scenarios where the creature hunts the player using a script that tells it the player’s last known location at regular intervals in specific rooms.

The main character’s abilities would focus on her power to “communicate” with stars for guidance, instead of fighting abilities.
We decided to use this power for puzzles that need to be solved to progress through each level to showcase that she relies on god’s help and that she’s powerless against the stalking creatures.
Most of your progress is blocked by closed-off doors that can be opened by finding scattered celestial fragments that the player has to put back together by visually observing each broken fragment directly for a small moment of time.
You have to explore the large seminar to find each lost fragment and reforge a completed celestial in your mind, which will act like a key that opens the door to the next segment of the game.

Our biggest struggle during development was the constantly changing concept of the game.
Some story beats had to be rewritten multiple times because they did not work with the proposed gameplay and art concepts or vice versa.
This made for a hectic situation where it became difficult to determine what changes could be made with the time that we had left to develop the game.
These experiences taught me a lot about managing a larger team and how to prioritize ever-changing design decisions while still adhering to the wishes of the other departments of the team.

There were also a lot of challenges in designing the gameplay and level design of this project.
The narrative, setting, and horror genre limited the mechanics of our priestess character: someone who can do basic human interactions without powerful combative abilities.
This challenged us to focus our mechanics on environmental observations that the player has to make.
The player has to focus on specific objects during specific moments, which created ways for us to subtly frighten them with sudden movements, small changes over time or sounds outside of their view that could break their focus.

On The Seminary of Sight, I was a Lead Designer & Level Designer.
The duration of the project was 20 weeks with a team of 15 members.

My duties included:

  • Designing and producing 3 different levels
  • Maintaining work breakdowns and user stories for the design department.
  • Provide feedback and guidance to the design department.
  • Team-Management and planning guidance
  • Overseeing the overall Game / Level Structure
  • Conceptualizing and prototyping gameplay elements
  • In-game event scripting
  • Overseeing playtests and handling feedback

Our goal with this project was to produce a small horror game that would focus on producing a horrifying, yet alluring, world and narrative about religion and the dangers of blindly following your beliefs.
We aimed for a high-quality development cycle with a set plan and a large team.
To accomplish this, we set out to write the narrative of the game first and marked any key moments that needed to be implemented.
This way, we could more easily determine the priorities during the game’s development and plan out what scenario would fit each level of the game.
The team structure was made up of designers, artists, developers, and a narrative writer, each of which had a team lead who would guide and plan out their teams’ development progress.

We quickly determined that the game would feature an enemy that would stalk the player during specific moments.
This creature would be made from red cloth, with the ability to hide through other cloths that decorate the halls of the seminary.
This seemed like a natural fit for this environment and a fun way to create tense situations where you can’t trust your surroundings for fear of being attacked at any moment.
We also toyed with the idea of having this red-clothed creature be able to change its shape (because of its unidentified form underneath the cloth), but this was deemed too taxing on our development schedule.
To have control over how certain scenes play out, we decided to have scripted scenes for important story moments and unscripted gameplay scenarios where the creature hunts the player using a script that tells it the player’s last known location at regular intervals in specific rooms.

The main character’s abilities would focus on her power to “communicate” with stars for guidance, instead of fighting abilities.
We decided to use this power for puzzles that need to be solved to progress through each level to showcase that she relies on god’s help and that she’s powerless against the stalking creatures.
Most of your progress is blocked by closed-off doors that can be opened by finding scattered celestial fragments that the player has to put back together by visually observing each broken fragment directly for a small moment of time.
You have to explore the large seminar to find each lost fragment and reforge a completed celestial in your mind, which will act like a key that opens the door to the next segment of the game.

Our biggest struggle during development was the constantly changing concept of the game.
Some story beats had to be rewritten multiple times because they did not work with the proposed gameplay and art concepts or vice versa.
This made for a hectic situation where it became difficult to determine what changes could be made with the time that we had left to develop the game.
These experiences taught me a lot about managing a larger team and how to prioritize ever-changing design decisions while still adhering to the wishes of the other departments of the team.

There were also a lot of challenges in designing the gameplay and level design of this project.
The narrative, setting, and horror genre limited the mechanics of our priestess character: someone who can do basic human interactions without powerful combative abilities.
This challenged us to focus our mechanics on environmental observations that the player has to make.
The player has to focus on specific objects during specific moments, which created ways for us to subtly frighten them with sudden movements, small changes over time or sounds outside of their view that could break their focus.

A vignette of the Sightless One, drapped in red cloth. In this scenario, the cloth wrapped around the creature would suddenly drop to the floor, as if nothing was there.
ttl_04Media
ttl_movie
ttl_contents

Click on the pictures to read a description.
Each picture has a fun piece of information that explains more about the visuals and gameplay of this project.

ttl_movie
ttl_contents

Click on the pictures to read a description.
Each picture has a fun piece of information that explains more about the visuals and gameplay of this project.

ttl_movie
ttl_contents

Click on the pictures to read a description.
Each picture has a fun piece of information that explains more about the visuals and gameplay of this project.