∴The Expanse: A Telltale Series∴

Overview

    The Expanse is a narrative cinematic adventure game set in the universe of the same name. It originated as a series of novels, but was adapted for television; this game being prequel set before the show. It features Camina Drummer as the main player character, an executive officer traveling across the Solar System onboard an independent salvage vessel named the Artemis. The ship’s crew scavenges abandoned starships for valuable parts and technology using zero gravity equipment, with the main plot revolving around the consequences of taking some highly valuable cargo. Now a Senior Level Designer, I imported and set up all the scenes and levels for the first two episodes. I worked very closely with the Narrative, Environment, and the new Gameplay Design team to help with story beats, optional quests/gameplay for the characters on the crew, and ship layouts that supported exploration and new gameplay. I left Deck Nine before the game was finished, but I laid a strong groundwork that allowed for the other 3 episodes to be completed as scheduled.

Game Info

Developer: Deck Nine Games
Genre: Narrative Adventure
Publisher: Telltale Games
Game Engine: Unreal 4
Platforms: PC, PS4, PS5, Xbox One, Xbox Series X/S
Team Size: Around 30
Release Date: Sep. 21, 2023

Tools Used

-Unreal 4 Game Engine
-Autodesk Maya
-Perforce
-Jira Issue Tracker
-Confluence
-Playwrite
-Storyteller
-Photoshop
-Microsoft Office

General

• Created and iterated on 2D and 3D layouts for levels across the game based on early scripts
• Crafted and setup unique navmesh and collision to work with the new Zero Gravity System that our Game Designers created
• Added interact points and volumes so that the finished level would function and play content
• Set up NPC idles, related functionality, and triggers for cinematic cutscenes
• Helped manage the scene structure and order
• Playtested and provided feedback for myself and others on the project; Watched others play the game and took notes
• Set up scenes to account for later episode scripts, focusing on character-driven gameplay
• Fixed a wide variety of game logic/content bugs
• Taking scripts/concepts and turning them into Content-complete scenes
• Collaborated with other departments such as Narrative, Environment, Cinematic Artists, Design, and Engineers to complete content

Documentation

• Creating Level Design Docs for all of my scenes
• Tracked my solutions on my bug tickets/wrote bug tickets for other departments
• Helped write and implement objectives to help give players direction in Zero Gravity scenes
• Organized design team syncs and meetings; took notes to help plan around new features

Research

• Looked for moments, objects, and content to reference from the original IP; pitched to these to the Narrative when appropriate
• Researched lore from the larger Expanse Universe to try and keep gameplay and level decisions as canon accurate canon possible
• Researched Expanse ship design to help make interiors as accurate as possible, while still meeting the Narrative team’s script needs

My Levels

Episode 1: “Archer’s Paradox” – The Artemis –

    One of the largest tasks I had early on during the project was to come up with an interior ship design that the crew would be piloting around over the course of the game. The vessel was broken down into different sub-level “decks” based off what was needed narratively for the course of the five episodes and what made the most sense when considering other canon ship designs in the series. The Narrative, Game Design, and Art teams all worked together with me to produce something that would meet the needs of future scenes when we returned to the Artemis in later episodes. Rooms were placed with purpose and made with character-driven gameplay and cinematography in mind. I met with the team regularly to showcase progress, starting with simple sketches and diagrams, eventually moving to 3D greyboxes, and finally used environment modular pieces to help flesh out the play space. This initial scene was intended as a way to introduce the player to the different crew members on the ship, telling them about a mission. I tried to promote exploration by having the critical path steps spread out among the decks, showcasing many different areas aboard the vessel (The Bridge, Med Bay, Cafeteria, etc.) and hinting at even more locations that were only in cutscenes here that would become explorable in future episodes (Captain’s Quarters, Hanger, etc.). (1:15 – 17:02)

Episode 2: “Hunting Grounds” – Ship Graveyard –

    This level was the 2nd major Zero Gravity area found within the game and had a lot to accomplish narratively. The main objective was to find multiple barrels of reactor mass to eventually escape from space pirates, but this multi-part goal becomes even more complex as minor and optional goals come into play while the scene progresses and characters interact with each other over a distance via communicators. Crafting a few more ship designs that we were only going to halfway explore, and fusing two of them together was an interesting challenge, especially because they had different origins and creators in the lore. A lot of that was tackled by kitbashing pieces from the other ships that had previously been made. I predicted player circuits and paths via playtesting and watching members of our team float around. Based on that, I then worked out several critical path “loops” that I could expect players to take, dropping visual clues, trigger volumes, and other hints to help with navigation and exploration as I subtly guided them throughout the play space. Many room types from the other existing ships I had researched also made their way into these designs, becoming landmarks to link sections of repeating modular hallway. Some of these notably contain relevant content or scene navigation clues, such as Airlocks still acting as ship entry points and engine bays/hangers for reaction mass storage. The scene progresses after players find a reaction mass container from both fused ships and then locate the final one after deactivating the blast doors on the last crashed vessel. (6:54 – 25:35)