daniel grafstrom
level designer
+ design . f.e.a.r. 2: reborn
F.E.A.R. 2: Reborn (DLC) (2009)
Monolith Productions & Warner Bros
Xbox 360 . Playstation 3 . PC
Senior Designer . Single-Player
F.E.A.R. 2: Reborn is a single-player DLC where the player takes the role of a different character than they did previously; a Replica soldier with an apparent defect. Players will find themselves traversing new environments with challenging and unique combats. The game is built on the same technology and tools used to create F.E.A.R. 2: Project Origin. It features new missions, art content, sound, and UI. I was responsible for the first half of the second mission, and the second half of the third mission. I designed both mission sections from the ground up, based on team & personal interest, fan feedback, and a variety of reference materials. On these missions, I created the shell geometry, placed all cover prefabs, visibility, AI infrastructure, combat scripting, performance & memory, scripted AI presentations, and story dialogue. With the limited resources available, I really feel that the team pulled off a great game that is fun, looks great, and has value.
Mission 02 - Contact
The second mission starts as the player links back up with his Replica squad after being dropped into the wrong zone. My goal was to bring back some elements that were scarce or missing from F.E.A.R. 2, such as faction fights, buddy AI, and brief scripted moments. I also wanted to experiment with several combat distances and styles.
In this short faction fight, the player is joined by two squad mates. A quick battle plays out with ATC forces who are trying to regain control of the city in whatever way they can.
Players follow their squad mates out to the building lobby where they walk into an ambush. The combats are real, the player's allies can die, and the following events will adapt according to what happens.
This was one of the initial prototypes I designed for the project. The combat distances are close quarters, and the rooms are fairly porous, so it easy to get caught off guard or take the enemy by surprise. It starts with a brief faction fight, but for the majority of this space, the player is operating solo to find a makeshift Replica command center.
Inside the command center, Replica are holding their ground and trying to plot their next move. However, there is some radio interference that is making that difficult. Luckily, the player is here to help. This area features lots of scripted AI presentations, introduces the use of landmarks, and contains a major plot element.
Mission 03 - Influence
The third mission has the player passing through underground sewers before emerging to a freeway. My goal with this environment was to provide contrast, address some feedback about the game being indoors and claustrophobic, as well as providing the player with an optional turret fight (all turret fights in F.E.A.R. 2 were forced). I wanted to open things up and give the player different avenues of attack, each with different experiences. I researched all sorts of neat looking freeway sections and combined them with destroyed street photos to get the desired look of the scene.
A sniper scans the scene. I used a combination of regular soldiers, heavy armored mid-range soldiers, and long range enemies to balance player containment and challenge. Players enter the scene while AI are searching for the player.
A view from down where the sniper in the previous shot would be aiming. The environment also features several ground heights for added interest and gameplay opportunities, as available cover is scarce on a freeway.
A sniper holds position on a pedestrian bridge. The building in the background is inspired by a freeway in Chicago that runs under a Post Office. Many of the objects in the environment are destructible, including the electronic sign. When players enter the space, they can either fend off enemies on foot, hop on a turret, or a combination of the two.
A view from the end of the environment looking back towards the center. The use of elevation continues in this space, as AI pour in from all directions whether they have to leap into the space, or crawl through destruction.
All content copyright Monolith Productions and Warner Bros.
