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Rings of Hell

An active turn based RPG set in wrestle themed version of Hell
The Project

Rings of Hell is a turn based RPG set in an irreverent wrestle obsessed version of Hell by Usual Suspects. Instead of using a fixed turn order, it has an Active Time Battle (ATB) system that challenges players to pay attention and act quickly. If they don’t, their opponents will slam them into the ground. It follows a tag team duo Red and Blue, as they fight their way through the Champions and eventually take on Wrestle Satan to get a second chance at life. The game was built in Unreal Engine 4 as a capstone project for UCF’s Florida Interactive Entertainment Academy (FIEA), starting in December 2020 and being released to Steam for free in August 2021. I was a technical designer on the project 

and was responsible for designing and implementing a lot of systems throughout the project including combat, dialogue, quests, and the tutorial.

Combat Systems

Combat was where a lot of the team’s resources went, including me. Firstly, I championed and designed the details for the iATB system. The game was pitched originally with this stat driven timer that controls when a character can take a turn and to me it was integral to the game’s identity. My initial prototype for the ATB system only took a couple of hours to create and it was iterated on throughout the project’s life cycle. I worked closely with Lead Programmer Coleman Levy and Programmer Austin Relis on the rest of the combat systems and architecture and it became difficult to separate our work from each other. We worked closely together, communicating often, both verbally and through text, to ensure the design was clear and to resolve bugs. That being said, one area that was primarily my responsibility was our Status Effects, which I designed as a stack based system. I felt this would make them more meaningful, creating dynamic interactions with the variability of turns with the ATB system. For example, the player could avoid taking a turn with one character to avoid triggering the Burn Status Effect (a damage over time condition) on them until they can use their other character to reduce or clear the stacks. Getting to implement these systems alongside the programmers and communicate other aspects of our combat systems with them taught me a lot about the value of iteration and how to design complex systems to not bloat the game’s scope.

Combat Content

In addition to the above systems, I also worked with Design Lead Dillon Lynch and fellow Technical Designer Pedro Bautista, to build out the status effects, combat actions, enemies, and encounters. We spent some time doing some independent brainstorming and ideation before coming back to share our ideas. It quickly became obvious that our concepts of the game’s balance were wildly different. Myself having attacks that generally dealt damage in a range of 1-10 while Pedro had some of his lower attacks dealing 100 damage. To resolve this issue, improve our communication, and facilitate balancing, I created a spreadsheet that would allow us to create different attacks and items that would then rate the strength of it based on the values of its effects (damage, healing, status effects). Then my sheet allowed us to build enemies using the attacks and items as well as giving them different stats such as health and speed (determines the time between their turns). Finally using these enemies, the sheet would allow us to build encounters, by adding different enemies to it. This would also calculate an approximate difficulty value for the encounter based on the number of enemies, the moves they have, and their stats. Getting to make this spreadsheet and iterate quickly on our attacks and enemies was an enlightening exploration into the raw importance of balancing and communication between designers.

Wrestle Satan

After working on the standard enemies, I got to design and implement Wrestle Satan, our game’s final boss. Right off the bat, I knew I wanted fighting Wrestle Satan to be special but the specifics took a little bit of iteration to settle on. Ultimately I wasn’t alone on this, everyone on the project had ideas for what our final boss would and we knew the general role the character is meant to play in the narrative. She is the ruler of this realm, an egotistical powerhouse who forces doomed souls to compete in her game for a chance to escape eternal torture. I knew we needed something dynamic, just giving her a large health pool would turn the fight into a boring slog. Thinking of her character the answer soon became clear. She would start off as a normal fight, but once the player starts to crack that ego, she would start cheating. After all she made the rules, she enforces them, who’s going to hold her accountable. Working on Wrestle Satan was a fascinating experiencing, getting to take in ideas from the whole team and refine them into a realizable concept that I then got to realize by finding the ways in our combat systems for Wrestle Satan to break the rules without actually requiring a whole new system to be implemented just for her.

Dialogue and Quest System

Outside of combat, I implemented our dialogue systems and quest system. Setting them up to be easily configurable by Level Designers Jazmine Perez and Sella Alcazar. Creating each system was an interesting challenge as both needed to be made with as much flexibility as possible, since the dialogue and specific quests were still being written. To create the dialogue systems I used Unreal’s behavior trees to manage the branching dialogue and used decorators and tasks to allow it to update the text display in the HUD or give the player items.

Art Implementation

During the project I also worked with the artists to help implement their work and connect it with the gameplay systems. This covered two primary areas. The first was designing and implementing the majority of the UI, using UMG widgets, alongside Technical Artist Abigail Morrison with additional visual input alongside Co-Art Lead Franco Bravo. This covered both in combat UI, a lot of which existed as world space widgets, and the out of combat menus and HUD. The second area of the art implementation that I worked was the animations, connecting them to gameplay using Unreal’s Animation Blueprints. During this I again worked with Franco Bravo as he was our team’s animator. Getting to work with different people and balancing the two sides of art and programming was a great collaborative

experience as we found compromises and iterated to deliver satisfying visuals in the time we had available.

Tutorial

The tutorial was one of the last areas that I worked on. It combined my work on the combat systems, UI, and even the dialogue system, modifying each so that they can work together in a new way. As such I was uniquely suited to work on it but I wasn’t alone. In particular I worked alongside Austin Relis as we created event dispatches to allow the dialogue system to step through different phases of our tutorial and our Abigail Morrison to create the unique HUD elements that would support the lessons of the tutorial. Beyond making the tutorial function I also wrote the dialogue for it, balancing the voices and personalities of the characters with the clarity that

the tutorial needed. It was a fun challenge all in all, and really showed me how tricky tutorials can be. Not just to implement, owing to their one off features or mechanics, but also to make effective.

Want to Play

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