CANDY HUNT
PITCH
You are the candy king!
Pastries have stolen your people's treasures.
You must get it back!
Discover the lands of wasted cakes or the cloudly candy floss city. While exploring, find abilities that will help you find the stolen treasures.
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2020
MEET THE TEAM !
Martin PEREZ
Technical Designer
Assistant Producer
Théo FARNOLE
Technical Designer
QA
Jeffry DE OLIVEIRA
Producer
Game Designer
Dorian VENTURA
Level Designer
Level Builder
Assistant Level Artist
Kathia LEBON
Artistic Director
Concept Artist
Anaïs PETIT
Character Artist
Quentin FONTANEL
Environment Artist
Mathilde LAPLACE
3D Generalist
VFX
ABOUT THE PROTOTYPE
Candy Hunt is metroid vania made in 12 days in a team of 8 students.
Special thanks to Robin Blanc and Flavien Caston that gave us the original package that helped us to develop the controller character.
LET'S PLAY
MY PROCESS OF REALIZATION
FOR CANDY HUNT
- LD PART -
SETTING UP METRICS FOR MECHANICS
SETTING UP LD's INTENTIONS
DIVIDE THE PLAY AREA FOR EACH INTENTION
VALIDATION
LAYOUT
BLOCKOUT
TESTS
Iterations / validation
INVALID
Iterations / validation
This game was my first experience with the metroid vania genre. I took the opportunity to apply a different design methodology than I usually apply with an important phase of iterations.
An LD where each space had to be designed to allow multy path progression since the player can unlock the abilities in any order he wants.
The principal intention of the LD is to make feel a reduced freedom of movement at the beginning of the game, so that powers get major importance on the progression of the player. Basically make this progress tangible by the feeling of power but also thanks to the inputs that are unlocked.
- BUILDING PART -
FROM VALIDATED
BLOCKOUT
SETTING UP THE MOOD & ARTISTIC INTENTIONS
IMPLEMENTATION
TESTS
Iterations / validation
DEFINE FINAL MODULES SIZE FOR THE ARTISTS
Iterations / validation
VALIDATION
INVALID
The implementation part is one of my particularities on each project. I want to keep a relationship with the artists and thanks to that I can better understand their constraints and better make those of the designers heard.
In addition to developing my artistic visualization in the design of a level it allows me to create something coherent as well for the gameplay as for the visual.
I think that designing a level without paying attention to the visuals that the player will be confronted with can lack consistency in the work of a team or even on an entire project in a studio. This is why we now find Level Architects in studios around the world such as Arkanne Studio.
