KILL CRAB
What is KILL CRAB
KILL CRAB is an Arena FPS inspired by DOOM and Bioshock 2. I worked on this as a Level Designer creating 3 of the main Combat Arenas including the Manta Mine, the Crust Station and Driftwood.
Features
Survive Waves of Evil Crustaceans
Complete Areas and gain access to new weapons and abilities
Use consumables to replenish your health and ammo
Jump and Dash away to safety with underwater gravity
Slow down time for perfect accuracy
Main Contributions
Designing Manta Mine | Crust Station and Driftwood from concept to release
Supporting our 3D artist in the creation of gameplay props
Performing environmental storytelling to build upon the games narrative
Collating playtest data to perform key iterations to level segments
Balencing gameplay and level difficulty within each section
Creating gameplay mechanics in the form of Exploding Barrels, Bubble Jumps and Aoe explosions for the cannon weapon
Creating VFX for each of the weapons within the game
Kill Crabs Iterations
KILL CRAB is an Arena FPS inspired by DOOM and Bioshock 2. I worked on this as a Level Designer creating 3 of the main Combat Arenas including the Manta Mine, the Crust Station and Driftwood.
Over the course of the development of Kill Crab maps went through several iterations via player feedback and public playtest feedback data. This data was then used to resized and redesign areas such as the Manta Mine flank paths and the Crust Station terrrain paths in order to make movement and interaction with the environment more fluid to accommodate for a more hectic and fast paced gameplay fitting of an arcade shooter. This combined with consistant tweaking to enemy spawn locations per map allowed me to adjust the desired experience for each combat zone and focus gameplay around key landmarked areas of the levels.
Responsibilities
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Designing Manta Mine Combat Arena
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Designing Crust Station Combat Arena
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Designing Driftwood Boss Combat Arena
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Support for designing the tutorials
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Enemy balencing
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Pickup location placement
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Environmental explosive actor placement
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Creating the weapon design of the Cannon
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Creating the weapon design of the Harpoon Gun
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Creating the weapon design of the Trident
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Creating the weapon design of the Pistol
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Creating the weapon design of the dual Pistols
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Balancing damage and tweaking behaviours based on playtest data
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Organizing daily scrums and tasks for Coders and Artists.
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Setting milestone goals and key targets for short agile sprints.
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Organising playtests and collating feedback to perform data driven iteration.
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Documentation for the project progress and arranging presentation to show to stakeholders
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Creating blueprints for collectable Chests
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Creating Blueprints for explosive barrels
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Creating blueprints for gate checkpoints
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Environmental blueprints for the moving minecarts
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Exploding bottles blueprint
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Working closely with the coder to convert blueprint logic into C++ code
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Creating environment art assets to place as environmental storytelling actors
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Replacing blockout assets with arted meshes
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Creating the 3D asset list for our 3d artists and contractors
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Implementing HLODs for all arted assets
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Optimising the games VFX and Art assets to run on minimal hardware
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Creating all VFX using Niagara within the game
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Supporting the implementation of character and weapon animations
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Manta Mine
Level Overview
Manta Mine is comprised of cavern mines where verticality is a key feature, with mine shafts offering opportunities to descend and evade enemies, as well as jump paths to ascend. The open areas provide a broader view of side paths, which are interconnected by smaller routes.
Responsibilities
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Full Layout from concept to Release
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Iterations based on data driven feedback
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Mockups and layout of gameplay activities within space
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Implementation of environment art assets and props
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Responsible for implementation of gameplay elements and level environment scripting i.e. checkpoint triggers explosive barrels and weapon unlocks
Level Design Goals
Create an open combat arena favouring fluid movement and allowing for rapid rotation between key distinct landmarks.
Tell a visual story via environmental storytelling to make the level feel grounded and immersive.
Create an arena that account for aerial enemy spawning as well as fluid ai pathing
Maintain the theme of an underwater cowboy arena
Level Element breakdown
Open Cavern Mines
Verticality for mine shafts
Ability to drop down and escape enemies
Jump Paths to climb up
Ability to view side paths from open areas
Open Areas linked by smaller paths
Huge broken landmark central bridge
Bowl like structure with a open interior and a outer path with lots of cover
A balence of enclosed and exposed spaces
Strong leadling lines towards key combat zones
Valve and gate design upon entry of the area
Layout Moodboards
To inform the visual language and spatial structure of this level, I gathered references from a range of games and real-world environments that emphasize enclosed spaces, scale, and player navigation.
References
Elden Ring: The crystalline caverns in Elden Ring served as a key visual reference for achieving a sense of grandeur within a fully enclosed environment. These spaces demonstrated how verticality, silhouette, and material variation can create awe without relying on open vistas.
Real-World Underwater Caverns: Real underwater cave systems were referenced to ground the layout in believable natural formations. This helped ensure the space felt immersive and coherent while avoiding designs that would break player suspension of disbelief.
Warhammer Vermintide: Vermintide was particularly influential due to its genre similarity to Kill Crab and its frequent use of cavernous, enclosed combat spaces. The game provided strong examples of how to organically connect large areas, as well as how lighting can be used to subtly guide players and reinforce critical paths.
Deep Rock Galactic: Although primarily procedurally generated, Deep Rock Galactic offered valuable insight into the design of large combat arenas with high ceilings. These spaces effectively convey scale and make the player feel small, while remaining fully enclosed an approach I adapted for key encounters within the level.
Gameplay Moodboard Objectives
Hazardous Zones: Specific areas of the arena were made more or less appealing through the strategic placement of explosive barrels, combined with spatial layout and shape language. Sharper, more jagged, and restrictive spaces are used to subtly discourage player movement in certain directions, while still maintaining player agency.
Valve and Gate Entry: The initial entrance to the arena is integrated into a valve-and-gate mechanism. Once the player enters, the arena becomes a closed space, preventing retreat until the encounter is completed and reinforcing the sense of commitment and challenge.
Multiple Interlinking Paths: The level is designed to be non-linear, with multiple interconnected routes that players can traverse using jumping and double-jumping. These paths overlap and reconnect rather than existing as isolated lanes, supporting fluid movement and spatial awareness.
Shortcuts and Flanking Routes Through Gameplay Mechanics: Shortcuts and flanking opportunities are intentionally placed to encourage use of core movement mechanics such as dashing, time slow, and double jump. Given the game’s fast-paced combat and AI spawn system, players are able to reach any visible location, reinforcing responsiveness and freedom of movement.
Encouraging Emergent Gameplay by Reducing Hard Boundaries: Hard boundaries within the main gameplay space were minimized to promote experimentation and emergent strategies. By allowing players to test different approaches and discover advantageous positions, the level empowers player choice and rewards mastery of the movement system.
Flow Diagrams
In terms of level flow, it all begins with a single entrance leading to a vast open zone. There are side vertical connections leading to two distinct mine shafts that wind around to the next expansive open zone. The loading zone presents two connector gates, offering players various options and environmental challenges. The cavern zone serves as a hub, connecting all sub-paths and leading to the objective zone. Players can secure the loot chest and then choose from multiple potential paths to return to the hub level.
Explanations
Concept 1: Non-Linear Interconnected Layout: This concept explored a non-linear layout where all major areas are interconnected, allowing players to move freely between spaces. An anchored exterior path was included to act as a consistent navigational reference, giving players a reliable route to follow if they became disoriented or needed to regain positional advantage against enemies. Ultimately we decided to take this design further as it would inspire consistent movement in players.
Concept 2: Semi-Linear Layout with Mine Shaft Flanking Route: This iteration focused on a semi-linear structure, incorporating an enclosed mine shaft intended to support escape routes and flanking manoeuvres during combat. While the concept offered interesting tactical possibilities, it was ultimately discarded due to the added complexity it introduced for the existing AI systems.
Concept 3: Linear, Combat-Focused Layout: The third concept explored a more linear design centered around condensed combat spaces connected by narrow corridors. These transitions were intended to break up pacing and provide temporary relief or escape opportunities. This approach was rejected, as it conflicted with the goal of maintaining consistent pressure and encouraging continuous movement throughout Manta Mine.
Top Down Plans
Top down plans were created from the selected node based designs. These were then refined and iterated upon to outline verticality, key structures. objective locations and landmarks whilst considering player visibility with predicted sightlines and determining the optimal level flow to fit concisely with the movement mechanics present within Kill Crab such as using a dash, double jump, ground slams, booster jumps and minecart riding to traverse the level in fun and creative ways.
Top Down Plan reflections
Top-Down Plan V1: The initial layout proved to be overly open and exposed based on early playtest feedback. Players frequently felt overwhelmed during combat, which highlighted the need for greater spatial control and defensive opportunities. These issues were addressed in subsequent iterations.
Top-Down Plan V2: The refined layout introduces additional sight blockers and vertical variation to better manage combat readability and player pressure. Elevation changes provide clearer escape options, while added leading lines draw the player’s attention toward the central bridge landmark, reinforcing it as a key navigable space.
Top-Down Area Map: The level is divided into five core areas, each supported by distinct environmental storytelling. This helps players orient themselves within the space and maintain spatial awareness during fast-paced combat encounters.
Top-Down Sight Lines: The central region and exterior paths are designed as elevated zones, granting strong sightlines across the level. This positional advantage is balanced by increased exposure, creating a clear risk–reward dynamic.
Top-Down Player Paths: Player flow is guided through a primary “golden path” leading toward a central elevated location, supported by an exterior looping route. A moving minecart along the outer path acts as a visual anchor, drawing the player’s eye and subtly reinforcing navigational direction.
Blockout
Whilst each area is meant to be different and unique to each other these must all share an identity as part of the same world to avoid the suspension of disbelief. I gathered a large quantity of references to fall back on for inspiration while designing these spaces.
References
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No Mans Sky: No Mans Sky has environments full of colourful vistas with unique landmarks and focal points for players to gather round.
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Astrobot: Astrobot has a wide range of environments that use platforming as a fun traversal method we could incorporated various jump puzzles / secrets that could be accessed via the use of the jump mechanic.
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Astroneer: Astroneer has alien like environments with lots of vibrant colours it seems to use a lot of folly assets such as trees and rocks to break up the environment and make traversal more interesting.
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Rock Gardens: Rock gardens typically have winding paths full of nooks and crannies alongside distinct landmarks the paths.
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Disney / Ghibli Aesthetics: Landscapes and environment art from Ghibli esque titles and Disney rarely use sharp angled shapes favouring more natural forms and designs to be more comforting and appealing.
Crust Station
Level Overview
Crust Station offers an expansive, open-style map featuring large structures, imposing rocks, and captivating background assets. Verticality is achieved through the presence of train debris and natural rock formations. The map design leads players along track paths that converge toward a central objective, creating a dynamic experience that starts from an elevated position and descends to a lower elevation as they progress. There are also flanking and side paths strategically placed for players to discover shortcuts and utilize jump paths across the debris.
Responsibilities
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Full Layout from concept to Release
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Post Release Iterations based on data driven feedback
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Mockups and layout of gameplay activities within space
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Responsible for implementing environment art assets to replace blockouts blocks
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Responsible for implementation of gameplay elements and level scripting such as level checkpoints weapon locations and explosive barrels.
Level Design Goals
Create a semi linear arena with 2 key levels of combat verticality .
Soft Valve and gate locations where players can descend to lower verticality to avoid intense combat situations.
Convey the theme of a western railway route and train stations enveloped by the land.
Create a balance of open and enclosed spaces to motivate movement via "Secure" and "unsecure" landmark locations.
Level Element breakdown
Semi Open map with large structures/rocks and background assets
Verticality from train debris and rock formations
Leading track paths towards a central objective
Enter from elavated position and down to objective at lower elevation
Flank and side paths for Players to find shortcuts
Jump paths along debris
Distinct landmark locations in the water tower , Train station and Supply depot
Layout Moodboards
To inform the visual language and spatial structure of this level, I gathered references from a range of games and real-world environments that emphasize the use of effective leading lines via the use of train tracks and debris.
References
Collapsed Train Station Concepts: I gathered real-world reference imagery from train hubs to inform the layout and structure of the track system. These references helped me design routes that naturally guide the player’s eye while maintaining a sense of immersion and believable scale.
Red Dead Redemption 2: I studied how Red Dead Redemption 2 structures its core landmark buildings such as train stations and water towers and how it uses surrounding space to frame landmarks, establish sightlines, and support player navigation.
Team Fortress 2 & Plants vs. Zombies: To complement the more grounded references, I analysed Team Fortress 2 and Plants vs. Zombies to understand how stylized games handle pathways, visual readability, and interconnected flank routes within a western-inspired setting. These references helped balance clarity and gameplay flow with a less realistic art style.
Gameplay Moodboards Objectives
Verticality is established through layered canyon paths and environmental debris, creating multiple elevation changes for movement and combat.
Large, open landmarks are contrasted with narrower connecting paths to control pacing and create moments of compression and release during traversal.
The level follows a Team Fortress 2–style payload layout, featuring a longer, more refined golden path with clearer hard boundaries to guide player flow.
Environmental props such as rocks, train cars, and crates are strategically placed to provide readable, consistent cover throughout combat spaces.
Flanking routes are supported through vertical routes and bubble jumps, encouraging alternative approaches and player expression.
Players are encouraged to vertically rotate out of difficult combat encounters using enclosed, linear spaces that provide safe repositioning without breaking flow.
Flow Diagrams
The level flow of Crust Station features a three-laned approach, with two flanking train track paths that connect to open areas just before reaching the train depot. Crust Station also allows for freedom of movement by using dividing rocks and debris, allowing for more free-form movement and exploration. All these paths eventually lead to the train depot at the end, introducing verticality in the final area through overlooks, towers, and opportunities for traversal over train debris and rocks.
Flow Explanation
Concept 1 – Selected: Linear Shortcuts
This concept focuses on a primarily linear map flow with clear, point-to-point combat encounters. Players can bypass or reposition around obstacles using strategically placed bubble jumps, introducing vertical shortcuts while preserving strong control over pacing and encounter structure.
Concept 2 – Unused: Semi-Linear
This concept explored a semi-linear layout with more free-flowing movement between objectives. It emphasized longer sightlines and looser spatial constraints, allowing for greater player choice at the cost of reduced encounter control.
Concept 3 – Unused: Multi-Path
This non-linear design, inspired by Manta Mine, emphasized open and exposed spaces with multiple interconnected paths and avenues of approach. While it encouraged exploration and varied engagements, it was ultimately less suited to the intended gameplay pacing and readability goals.
Top Down Plans
Top down plans were created from the selected node based designs. These were then refined and iterated upon to outline verticality, key structures. objective locations and landmarks whilst considering player visibility with predicted sightlines and determining the optimal level flow to fit concisely with the movement mechanics present within Kill Crab such as using a dash, double jump, ground slams, booster jumps and minecart riding to traverse the level in fun and creative ways.
Top Down Plan Reflections
Top Down V1: The initial top-down plan focused on a linear layout built around a winding central path, establishing the core flow and sequence of combat encounters.
Top Down V2: The second iteration refined player space and overall scale after early playtests revealed the area felt too expansive. Adjustments were made to improve pacing, readability, and engagement density.
Top Down Area Map: The layout was divided into five key area zones, each featuring a distinct landmark to improve navigation, visual variety, and spatial memory.
Top Down Sightlines: Areas highlighted in dark grey represent navigable vertical spaces. These positions allow players to survey the environment and gain advantageous sightlines over the map, balanced by increased exposure to enemy fire.
Top Down Player Paths: Players are guided along the golden path toward vertical spaces that provide a vantage point over the map. From there, they are presented with a choice: descend to follow the guiding train tracks or continue forward along the cliff face, supporting player agency while maintaining controlled flow.
Blockout
Whilst each area is meant to be different and unique to each other these must all share an identity as part of the same world to avoid the suspension of disbelief. I gathered a large quantity of references to fall back on for inspiration while designing these spaces.
References
-
No Mans Sky: No Mans Sky has environments full of colourful vistas with unique landmarks and focal points for players to gather round.
-
Astrobot: Astrobot has a wide range of environments that use platforming as a fun traversal method we could incorporated various jump puzzles / secrets that could be accessed via the use of the jump mechanic.
-
Astroneer: Astroneer has alien like environments with lots of vibrant colours it seems to use a lot of folly assets such as trees and rocks to break up the environment and make traversal more interesting.
-
Rock Gardens: Rock gardens typically have winding paths full of nooks and crannies alongside distinct landmarks the paths.
-
Disney / Ghibli Aesthetics: Landscapes and environment art from Ghibli esque titles and Disney rarely use sharp angled shapes favouring more natural forms and designs to be more comforting and appealing.
Drift Wood Town
Level Overview
Driftwood was designed as the key hub zone in order to link all 3 other areas together to act as a nexus for player movement some of the key level design thoughts behind creating this area are as follows Hub Style map used to link the three main areas together.
The map boasts verticality thanks to prominent rock formations and strategically placed key structures. There are train tracks that guide you to the mine and train level, while the outlaw camp stands in opposition. You can also utilize these rock formations as alternate pathways and discover shortcuts for efficient navigation, especially when revisiting previously explored terrain.
The final stage of the level results in a boss battler with the flying minigun boss the Nugget Nibbler meaning the space is design for the player to fight a powerful aerial enemy while simultaneously fending off hordes of evil crabs.
Responsibilities
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Full Layout from concept to Release
-
Iterations based on data driven feedback
-
Mockups and layout of gameplay activities within space
-
Responsible for implemntation of environment art assets such as props
-
Responsible for implementation of gameplay elements and level scripting
Level Design Goals
Create an interconnected Hub Map that acts firstly as a gameplay space.
Secondly as a map that will guide the player toward each of the key areas via the use of leading lines and effective use of empty space.
Provide ample room for a large aerial enemy boss during the final stage of the game.
Create the level focused on open exposed spaces to make the player feel uneasy and unprotected forcing them to continuously keep moving.
Level Element breakdown
Hub Style map used to link the three main areas together.
Verticality from rock formations and key structures.
Train tracks leading to mine and train level with the Outclaw camp opposite.
ability to use rock formations as alternate paths.
shortcuts on re-treading previous ground with one way bubble jumps.
Environmental storytelling by each level which showcase their theme and purpose within narrative.
Layout Moodboards
To inform the visual language and spatial structure of this level, I gathered references from a range of games and real-world environments that are open aired and provide lots of dead space to make the player feel uneasy and constantlyl wanting to keep moving to avoid the aerial assault of the main boss
References
Overwatch: References where gathered from Overwatch for their stylized use of directing players via pathways whilst keeping the majority of structures as hard boundaries
Western Saloons: Using real life saloon references in order to plan the use of landmarks to guide the flow of combat around dead space
It Takes Two: Gathering references from it Takes Two studying spaces within underwater environments and how best to use depth perception to make players feel either safe or out of their depth
Gameplay Moodboards Objectives
Gameplay focused around the 3 interconnected central landmarks for use of cover from above
Players will constantly run and switch between the central buildings to avoid lesser enemies
Players can float between landmark zones via longer rotation routes however this will leave them exposed less continue running
Flow Diagrams
In terms of level flow, it adopts a semi-linear hub zone layout, with a central core area connecting to the other levels. This design incorporates a blend of open spaces at the center and narrower passages leading to each new level. Regardless of your chosen path, all roads converge at the three central structures, and vertical shortcuts are available to minimize the need for extensive backtracking.
Explanations
The gameplay of the level revolves around the central anchor that players arrive on when they begin the game.
The anchor is surrounded by guiding and distinct landmarks with dead space in-between making them feel like safe locations giving the player a vantage point and cover
All locations lead back to the main trio of landmarks creating a to and froe style movement from the outer sections of the map to interior
Top Down Plans
Top down plans were created from the selected node based designs. These were then refined and iterated upon to outline verticality, key structures. objective locations and landmarks whilst considering player visibility with predicted sightlines and determining the optimal level flow to fit concisely with the movement mechanics present within Kill Crab such as using a dash, double jump, ground slams, booster jumps and minecart riding to traverse the level in fun and creative ways.
Top Down Plan Reflections
Top Down Plan V1:
This initial top-down layout focuses gameplay around three central building landmarks. These structures provide meaningful cover for both aerial and ground-based combat, while the surrounding negative space helps draw player attention toward the landmarks and reinforce them as primary points of interest.Top Down Plan Area Map:
The map is divided into four distinct zones, with all movement routed through a central anchor zone. This anchor connects the main combat space to three surrounding level areas, ensuring clear navigation and controlled player flow.Top Down Plan Player Sightlines:
The central landmarks are elevated, giving players an advantageous position and strong visual control over the map. Sightlines from areas such as Manta Mine and Crust Station are intentionally framed to guide player focus toward the center.Top Down Plan Player Paths Inward:
Golden paths from the anchor zone lead players outward toward the connecting level areas, using leading lines and framed sightlines to naturally guide movement.Top Down Plan Player Paths Outward:
Golden paths returning toward the anchor create a “wow” moment as players descend and reveal what lies at the bottom of the chain. Sightlines are funneled back toward the central landmarks to reinforce spatial awareness and visual hierarchy.