Project Overview

The goal of this project was to design and build a complete 3D level for a Norse-inspired action-adventure game. I developed the gameplay systems, level design and narrative structure from scratch, using existing assets, animations, dialogue and quest systems.

The level was designed around the game's core combat and exploration mechanics, with dedicated spaces for combat encounters, environmental puzzles and exploration. I used visual communication and environmental signposting to guide players through the level without explicitly telling them where to go or how to solve each puzzle.

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The level is divided into three sections, each with a distinct purpose:

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1. Introduction
A guided introduction to the game's controls and combat mechanics, using small UI prompts to teach the basic controls. Combat is deliberately simple at first, allowing players to learn the core mechanics before being introduced to more demanding encounters. An optional boss provides an additional challenge for returning players or those looking to test their skills.

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2. Exploration
The level opens up and gives players greater freedom to explore. The story progresses alongside optional encounters, additional bosses and a side quest, allowing players to engage with the environment and mechanics at their own pace.

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3. Climax
The final section increases the difficulty and brings the narrative to its climax. More challenging encounters and variations on existing enemy types require players to combine and apply the mechanics they have learned throughout the level.

This structure allowed me to introduce mechanics gradually while maintaining a clear difficulty curve and giving players increasing freedom as they became more familiar with the game.

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Combat & Targeting

One of my main goals was to improve upon the combat system from my previous project, Project Virus. I studied a range of action games and GDC talks before redesigning the system around encounters involving multiple enemies.

In Project Virus, attacks were directed towards the centre of the camera because the player generally fought one enemy at a time. That approach became unreliable when designing encounters with multiple opponents.

For RAGNARÖK, I implemented a target selection system that considers both screen position and distance from the player. This gives the player influence over which enemy they attack based on where they are facing, while automatically favouring nearby enemies when appropriate. The result was a more reliable system for managing multiple opponents without requiring the player to manually select a target for every attack.

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Enemy AI

I also used this project to develop my understanding of enemy AI. My previous FPS project used a simple switch-based state system, which was sufficient for a small number of behaviours. RAGNARÖK required more complex enemies with multiple states and conditions.

I therefore built a reusable finite state machine (FSM) that could be adapted across different enemy types. This allowed enemies to transition between behaviours such as idle, pursue, attack and react based on the current situation.

The system was still relatively simple, but it gave me a much stronger foundation for designing enemy behaviours and taught me a lot about structuring AI around clear states and transitions. It also sparked my interest in more advanced approaches such as behaviour trees and utility-based AI.

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More information can be found in my development blogs.