
A Roguelike PvE shooter, focused on replayability and player lead decision making.
Year
2024
Company
Fennec Labs/Spawnpoint
My involvement
Acting game director / project co-ordinating
Core system design; combat system, perk/levelup systems and shop/economy.
Weapon / Enemy balancing
Boss / Special zombie design
Greyboxing / level design
Sourcing and working with asset pack
The goal of Dead Corps
The goal of Dead Corps, a Spawnpoint game, was to provide the visceral experience of eliminating increasingly challenging enemies using diverse methods. Honestly, the inherent joy of mowing down hordes of enemies is what drove most decisions we made
The game was designed to be scalable, promoting replayability, a core aspect of Spawnpoint games where extended play unlocks additional content.
The perk system
The perk system allowed players to select from a pool of perks before each wave, encouraging strategic decision-making through synergistic combinations. For instance, one perk could increase damage based on ammo used, while another could reward ammo for each kill, promoting a focused playstyle. With 24 perks available, each playthrough offered a unique experience.
The economy
The in-game economy rewarded kills with currency, with headshots and special infected kills yielding higher rewards. Currency could be used to purchase guns or consumables like grenades.
Unfortunately due to time limits other uses for money like mystery boxes or weapon upgrades were cut from the game. And the variation in grenade types were also heavily reduced
The zombies
The normal zombies, the primary enemy type, had two walk speeds to accommodate player acclimation, a lesson from RE:COIL regarding inexperienced players.
The special infected
Special infected added complexity; the Bloater exploded if not killed with a headshot, the Spitter created area-denial acid pools, and the Priest impaired player accuracy.
The special infected add another layer to the game and break up the monotony of shooting wildly down a hallway by adding important targets the player needs to deal with and prioritise.
The Boss
The boss is the final threat at the end of the game. It creates a final hurdle the players must come together to face. I concepted a couple varieties of bosses - but due to time constraints the final game only includes one the Tank. Taking inspiration from the Tank from Left 4 Dead and the Rioter from Killing floor 2.
The main gimmick of the Dead Corps Tank is a number of weak spots covering them. Attacks made to weak spots do increased damage for a limited amount of time before they are destroyed. Destroyed weak spots increase the bosses attack speed and movement speed, turning him from a lumbering giant to angry gorilla. This was received quite well by players as helped create a building threat
The Tank had a number of attacks to threaten the players with; be it charging through the playspace; throwing projectiles or even just pummeling an annoying player directly. Each of the attacks were designed to disrupt players and force them to move around the playspace at the risk of taking damage or dying. This help counter act the rigid movement some novice VR gamers suffer from - and allowed us to take full space given from Arena scale VR.
Level Design
Arena-scale VR limitations were addressed by designing maps to fit three common sizes, ensuring a consistent experience across different arenas. The maps were made so that all 3 sizes would exist in the same scene with a dynamic set of barriers that could block off the different sizes of maps and the larger exterior environments. This allowed for all 3 sizes to be developed simultaneously without any disruptions to quality or version maintenance.
A portion of my time was spent on making sure the zombies could path across any environment they were in. As it was vital that the players had something to fight and not just a series of static targets.
Working with asset packs
Asset packs with similar art styles were used to reduce the workload on the art team. Additional assets, including player models, weapon animations, and special infected, were created by the art team under my guidance.