Besides video games, I also love sports, like hockey (though that's a game too). I played hockey for a long time, so whenever I get the chance to skate or play, I take it.

I mainly go to the gym to stay in shape, but when I lived in Malaysia, I tried Muay Thai. I enjoy practicing it as a form of fitness to keep in shape.

In my free time, I also enjoy writing music. I like instrumental music, beats, and electronic music. For this, I use Ableton Live 10.

1. I developed an original idea and created a level that would reveal this idea.
2. I designed a single level by creating a blockout, implementing triggers through blueprints that support the narrative.
3. I conceptualized and implemented a health system and checkpoints, along with interactive objects that were used throughout the level.
4. I added lighting, VFX, and sound that support the narrative and assist in navigating the level.

I tried to implement classic shortcuts that allow players to shorten their path, but at the same time come with higher risks.This adds variety to the gameplay and gives players a chance to showcase their skill.

I also tried to create a drawbridge as a reference to Fast & Furious 2 and NFS Underground. I made a mini-version of the bridge since I didn’t have much time to work on the car physics. But the main purpose of this bridge is to challenge the player—they need enough speed to jump across it. It’s a small gameplay challenge.

Post-mortem feedback from Paris, (ex-Arkane level designer, now at Valve.)

GAMEPLAY VIDEO

LEVEL DESIGN:

I was responsible for the entire level design of the map. I created the layout plan, defined metrics, built the greybox, and placed enemies and scripts.

Set Dressing:

I was responsible for asset placement, the visual composition, and narrative storytelling of the levels.

COLLABORATION:

Since the team was small, I consistently collaborated with programmers, narrative designers, gameplay designers, and the VFX artist.

LIGHTING:

I was also responsible for lighting. It was a crucial aspect of the game, impacting not only performance and visual quality but also the overall mood and atmosphere.

RING PROTOTYPE

The main idea of the game is that you must die at the hands of an enemy in order to take their body and their ability.

RING COMBAT PROTOTYPE

Ring Combat Game is similar to the previous game, but now the player must kill enemies. The player can also store all abilities at once. The enemies are the same, but now there are bosses, and defeating them grants the player new abilities.

STEALTH GAME PROTOTYPE

The main idea of this prototype is that you can paint enemies and the environment in different colors. If you paint an enemy in your color, they become your ally and attack other enemies. If you paint an area in your color, you can hide there. You can throw paint or set paint traps. I had the least amount of time for this prototype.

RESEARCH

I started with research, studying top-down games and identifying key aspects.

GOALS

I defined key goals for my level, including the theme and gameplay duration.

2D LAYOUT

Then, I created several iterations of the top-down map to present the design to the team. I also developed Level Beats.

GRAYBOX

I created the first version of the greybox in Unreal Engine 5 for playtesting. I also placed some puzzles and enemies.

ITERATE

Implemented assets, VFX, and lighting. Conducted playtests and went through multiple iterations.

Before starting the project, I conducted research to understand how levels and puzzles are structured in top-down games and to adapt some ideas. As a result, I identified several key elements that I applied to my level design:

These elements helped make the levels intuitive and engaging.

Then, I defined the goals I wanted to achieve while designing this level.

TOP DOWN

LEVEL BEATS

I used the standard Unreal Engine Starter Architecture Pack for blockout metrics. The artist later created assets based on these metrics. All movement and controller mechanics were designed to align with these metrics.Dimensions:

Camera Angles
The first problem I faced was related to camera angles. During level prototyping, the levels were designed with one fixed camera. However, the team later decided to adjust the camera system, which required reworking certain rooms.

This iterative process ensured the gameplay became clearer and more intuitive with proper visual feedback and better camera design.

Avoiding Softlock
This project was my first experience dealing with the issue of softlock, and throughout the development, I learned how to address and resolve these problems.

This iterative process resolved the softlock issue and ensured that key tutorial mechanics were effectively taught to the player.

Designing the Tutorial
Another challenge was creating an effective tutorial for the player. With many mechanics to teach, it was essential to introduce them gradually. To achieve this, I used the Teach => Test => Twist methodology. Here’s an example of how I implemented this with the body possession mechanic:

1. TEACH

2. TEST

3. TWIST

Backtracking
Another challenge was backtracking. Initially, the plan was to create small levels with a minimal number of rooms, as we were limited in assets and aimed to keep the game small in scale. As a result, my level design focused on reusing spaces effectively.

I decided to use backtracking as an advantage, allowing the player to unlock areas that were previously inaccessible.

Visual Feedback
The first issue we encountered during playtests was that players couldn’t see which objects they were activating. To address this, I decided to make the visual feedback as clear as possible while ensuring it matched the overall style of the game.

After these changes, the player can instantly see which button activates which object.

To enhance clarity, I used assets to create markers:

Moving Platforms:

Disappearing Floors:

Shootable Puzzle Targets:

On this project, I was responsible for set dressing, and since there were two levels, I developed a small backstory to differentiate them. I designed two distinct territories for each level:

Level 1: The Palace:

Level 2: The Dungeon

The color separation between levels helped me distinguish the environments and create a sense of progression for the player, as they unlock a new territory after completing the first level. Additionally, this separation allowed me to reuse assets, which was crucial for this project due to the team's limited asset resources.

There were six iterations of the blockout:

• ArtStation Iterations

LEVEL DESIGN:

I was responsible for the entire level design of the map. I created the layout plan, defined metrics, built the greybox, and balanced the map.

Environmental Storytelling:

I tried to convey narrative through level design—a desert, skyscrapers, and a post-apocalyptic setting.

BLUEPRINTS:

Using Blueprints, I created simple scripts for interactions and a mission list.

lighting:

I also handled all the lighting. It was important not only for guiding the player but also for setting the mood.

LAST SUNSET is a mission-based level set in a post-apocalyptic world.
Player Objectives:1. Infiltrate the skyscraper
2. Find the key
3. Eliminate the boss
4. EscapeThe mission can be completed through stealth or direct combat, offering multiple gameplay approaches.

The initial goal was to create an FPS level with five minutes of gameplay, allowing for stealth mechanics. I knew that designing a stealth level would be a major challenge, but I felt it was important to start somewhere, make early mistakes, and learn how it works.Additionally, I wanted to convey a post-apocalyptic atmosphere through environmental storytelling. I was inspired by Blade Runner 2049 and was eager to recreate that immersive atmosphere.

1. The player starts on the rooftop of a neighboring skyscraper, with a clear view of the level.2. The player spots the first enemy and chooses between engaging in combat or sneaking behind for a stealth kill.3. In the next room, the player sees their final objective—the boss's door, but it's currently locked.4. The player enters the warehouse and gains a vantage point over two enemies.5. On the other side, another enemy and a keycard can be seen.6. Upon descending to the bridge, the player encounters more enemies and can choose to use explosive barrels to eliminate them, shifting from stealth to all-out action.7. After collecting the keycard, the player can unlock the previously inaccessible door to the boss.8. The player engages the boss in combat.9. After eliminating the boss, the player escapes via the helipad.

GOALS

At the beginning, I set several goals to guide me in the level design process.

2D LAYOUT

Then, I drew a map in Figma with brief descriptions of rooms, objects, and enemies.

GRAYBOX

I created the first iteration of the greybox in Unreal Engine 5, placed enemies, and developed several Blueprints.

ITERATE

First playtests and tweaking. Implemented some 3D assets and lighting.

REFERENCES

After analyzing several popular games that feature stealth mechanics, I identified a few key elements:

GUIDES THE PLAYER

Lighting as a Guide for the Player1. First Image: The light highlights the door, directing the player towards the correct entrance.2. Second Image: The light hits the wall, allowing the player to see its source and naturally guiding them in the right direction.3. Third Image: A large red screen serves as a landmark, clearly indicating the player’s final objective.

TELLS THE PLAYER

I also used lighting to emphasize key moments for the player. For example, this entire composition visually communicates that this is it—the final moment. It signals that the most important part of the level is about to begin.

DIRECT COMBAT

For direct combat, I designed the environment to encourage the strategic use of both cover and angles.As a reward for engaging in direct combat, I added Explosive Barrels. If the player was sneaking before, they can simply shoot the barrels to deal massive damage to nearby enemies. This is especially useful for taking down larger enemies, giving the player a tactical advantage.

STEALTH

Designing Stealth Encounters: Methods and Iterations1. Alternative Paths. First Image:

2. Cover Usage. Second Image:

3. Importance of Overview in Stealth Mechanics.

Post-apocalypse

Conveying the Post-Apocalyptic Atmosphere Through Environment Storytelling1. First Image: The skyscraper is tilted to the left, suggesting structural collapse and decay.2. Second Image: Various objects have also fallen in the same direction, reinforcing the sense of destruction. Additionally, the building has a broken wall, further emphasizing the ruined state of the world.3. Third Image: The Statue of Liberty is shrouded in orange fog, symbolizing the dystopian, post-apocalyptic setting.4. Fourth Image: I experimented with architecture to make the boss room feel unique—hence the rounded roof. I also incorporated large glass surfaces so that the player frequently sees the orange fog, further immersing them in the post-apocalyptic atmosphere.

bad place

I also used environmental storytelling to convey the atmosphere that bad people inhabit this place and that something sinister is happening here.1. To reinforce the atmosphere of a sinister place, I created a composition using an Unreal Engine character, a metal box, and red lighting. This setup evokes a sense of eeriness, suggesting that experiments or something unsettling may have taken place here.2. I also added cages to the warehouse area to reinforce the idea that this place is connected to something sinister. Cages, no matter where they are, are meant for confinement. A place where people or animals are locked up automatically feels unsettling and menacing.3. I also used a lot of red lighting throughout the environment. Red light in deserted areas or crowded spaces naturally creates a sense of anxiety and unease, reinforcing the tense atmosphere.

LEVEL DESIGN:

I was responsible for the entire level design of the map. I created the layout plan, defined metrics, built the greybox, and balanced the map.

Environmental Design:

I developed the visual style from scratch. I also found a way to reuse existing assets and textures to create a new, visually unique map.

TECHNICAL PART

An important part of the work was also setting up events, animations, and enemies. Moreover, it was crucial to manage the engine budget, as Far Cry Arcade has limitations on AI, assets, lighting, and VFX.

lighting:

It was important for me to create lighting that matches Far Cry 5's style while also guiding the player and maintaining a realistic feel.

RESEARCH

I started by studying the mechanics, narrative, and level design in Far Cry 5.

GOALS

I received goals from Peter Vespi Frendrup.

TOP DOWN

I created three top-down maps and selected the one that best fit my goals.

BLOCKOUT

I created the first blockout to establish the core architecture of the map and define its metrics.

ITERATE

I went through iterations, worked on enemy placement, set dressing, and lighting.

This level was part of our Advanced Level Design course, where Peter Vesti Frendrup (Studio Level Design Director at DICE) assigned us a task designed to closely resemble what a real Level Designer would face in the industry. He provided me with goals that I needed to achieve while building the level.

TOP DOWN

LEVEL BEATS & LEGEND

WHY?

First and foremost, I chose this design because it allows me to achieve all the set goals. Secondly, I like that this design enabled me to incorporate several interesting design aspects:

1. I decided that a prison is a perfect fit for the linear section because Far Cry 5 is an open-world game, and a closed environment works best for a structured, linear sequence.2. In the open area, the player should have several options, but not too many.
I determined that three possible paths would be sufficient.
These three different paths offer different types of weapons (explained in more detail later).3. This design perfectly showcases the progression from surviving to hunting as the player returns to the church at the end of the level after eliminating all enemies.4. Weapon and enemy progression further reinforce this effect, making the player's journey feel impactful.

TENSION GRAPH

My level features five encounters:

This graph shows that each encounter reaches its peak tension in the middle and then declines at the end. Why?

Then, I started working on the blockout. At this stage, I defined:

After that, there were many iterations, which included:

Before starting work, I identified three key design aspects that would help me achieve the level's goals:

SPACES

At the beginning, the space should be linear and tense, and then large with many tactical decisions. I also tried to make the space support player progression through the level (for example, different spaces for different weapon types). I also tried to make the space unique while still fitting into the narrative and style of Far Cry 5.

PROGRESSION

Progression should help achieve the goal of "from surviving to hunting." I tried to do this through the distribution of different weapon types and different enemy types, as well as trigger events that enhance the satisfaction of using weapons while maintaining immersion and creating a challenge for the player.

ENCOUNTERS

Encounters should reflect this contrast and enhance the key elements of tension, progression, and playstyle choice.Stealth
Main goal: Create a tense atmosphere, making the player feel vulnerable and resource-limited.High-Intensity Combat/Sniping Opportunity
Main goal: Give the player a sense of choice and progression—they are no longer the prey but the hunter, deciding how to clear the camp.

How Level Geometry Enhances Weapon Usage

One of my goals was: At the beginning, the space should be linear and tense, and then large with many tactical decisions. I followed this goal while also trying to create a level geometry that helps the player maximize the effectiveness of their weapon at a given moment.1. PLAYER VIEW: The player starts unarmed, and the space is tight, but at the same time, they have a clear view of nearby enemies, allowing them to plan their actions.2. NARROW CORRIDORS: Then, before entering the narrow corridors, the player finds a shotgun. The shotgun is perfect for tight and enclosed spaces, as it allows the player to eliminate enemies up close with a single shot.3. OPEN AREA: As the player moves into a more open battlefield, they gain access to a rifle, which is ideal for mid-range combat. While long-range engagements are possible, they are more challenging due to cover placements and enemy positioning.4. SNIPER TOWER: When, the player acquires a sniper rifle, benefiting from height advantage and strong defensive positioning. Elevated sightlines make this the optimal space for precision shooting, reinforcing the power of long-range engagements.5. MACHINE GUN: Finally, the player gains access to a static machine gun, positioned on a rooftop at a lower elevation, directly overlooking the road where enemies will arrive. This placement allows for effective suppression of both ground vehicles and airborne threats, giving the player a sense of dominance and power in the final phase of the battle.

Why?

The main reason behind this design approach was to reinforce weapon progression through spatial design. Instead of simply handing the player new weapons, I wanted each transition to naturally introduce a new playstyle by aligning the environment with the weapon’s strengths.

Far Cry 5 is a game about the Project at Eden’s Gate cult, which has taken control over the fictional Hope County in Montana. Because of this, I decided that my level should include:

Why?

It was also important for me to ensure that the level was intuitive. To achieve this, I guided the player using lighting and enemy placement, while also providing clear view angles at each phase of progression.1. PLAYER START:

2. CHURCH:

3. CAVE:

4. OPEN AREA:

5. SNIPER TOWER:

The weapon progression on my level is as follows:Unarmed → Shotgun → Rifle → Sniper Rifle → Machine Gun

Why?

One of the goals was: To achieve the goal of "from surviving to hunting," the player must start weak and become very powerful by the end.My approach was to create a progression that helps me achieve this goal.

Goal
Utilize how loot is distributed through enemy archetypes as well as world placement—this creates a unique opportunity to shape the player experience.To achieve this goal, I used a variety of enemy archetypes.Melee enemies (bat-wielding opponents) ➝ Shotgun enemies ➝ Flamethrower enemy ➝ Rifle enemies ➝ Heavy enemy ➝ VIP enemy (high-priority target) ➝ Enemy waves (helicopter and vehicles).I analyzed the enemy types in Far Cry 5 to create a gradual difficulty progression. Basic scenario was:Player encounters a new enemy type ➝ Old weapon is ineffective, making the fight challenging ➝ Player finds and uses a newly acquired weapon ➝ Player defeats the enemy and progresses further.

Why?

Designing the stealth encounter went through multiple iterations and changes. The main issue at first was that the challenge was too low—initially, I placed all enemies facing away from the player, making it too easy to eliminate them.To improve the encounter, I introduced small challenges, making the stealth sequence more engaging.

1. The first enemy is easy to eliminate because they cannot see the player.
WHY: It's important to start the encounter with an easy kill to let the player get comfortable with the mechanics.2. The second enemy faces the player, but there is a crouch passage in the wall that allows the player to sneak behind and take them down.
WHY: This introduces a small challenge—the player must move quickly and at the right angle. It also teaches the player that alternative paths exist in this level.3. This area has three enemies.
The first enemy stands with their back turned, but after killing them, the player must hide the body, or two other guards will spot it.
After hiding the body, the player finds a shotgun and a passage in the wall.
WHY: This introduces a new mechanic (body dragging), adding another layer of challenge and variety to gameplay.4. The last two enemies are visible from a distance, allowing the player to mark them.
- The player can sneak past through a prison cell passage, distract them with a stone throw, and take them down with a combo attack.
WHY: The difficulty gradually increases, adding more enemies and encouraging strategic play. This also introduces two new mechanics (distraction throw & combo attack), further diversifying gameplay.Final Result
The stealth encounter now presents an engaging but fair challenge, allowing the player to use different mechanics and experiment with multiple playstyles. This makes the gameplay more varied and exciting.

For the sniper encounter, I focused on:

Why This Works?

High Vantage Point (Tower)

Long, Open Sightlines

Cover for Post-Shot Protection

Enemies Positioned at Mid to Long Range

I also designed two high-intensity encounters:1. Fast-paced action – The player is in a tight, enclosed space, and enemies know their location. The player must move quickly to escape the trap.

Why does it work?

2. Escalation – The player faces waves of enemies, reinforcements, and changing enemy types, increasing the intensity of the battle.

Why does it work?

I mainly used Far Cry 5 assets, which are part of the official game, but I also incorporated engine assets to create unique objects.For example, by combining two rock pieces, I was able to construct an entire underground prison, covering the gaps with larger rock formations of the same type.

Why does it work?

Since I had asset limitations and couldn't resize textures, I faced the challenge of some areas looking too repetitive, making them feel unrealistic. To address this, I used additional assets, decals, and vegetation.

Why does it work?

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LEVEL DESIGN:

I was responsible for the entire level design of the map. I created the layout plan, defined metrics, built the greybox, and balanced the map.

Environmental Design:

I developed the visual style from scratch. I also found a way to reuse existing assets and textures to create a new, visually unique map.

TECHNICAL PART

An important part of my work was lighting and its impact on performance. I also worked with VIS optimization and was responsible for script placement.

Marketing:

I also created the logo, trailer, and level screenshots, as well as designed the Steam Workshop page for the map.

de_arctic is a classic 5 vs 5 map, featuring two buy zones (one on the CT side and one on the T side), two spawns (T side and CT side), and two bomb sites (A and B). The map also includes the traditional three-lane structure: a path to A site, a path to B site, and the Middle lane.The map also incorporates verticality:
1. Point B is located on the ground floor.
2. Point A is located on the -1 floor.

PLAYTHROUGH

WORKSHOP STATS

The map turned out to be fairly compact, allowing for quick rotations. As in any classic competitive map, CTs spawn closer to A and B plants, as they play defensively, while T-side starts further away, since they are on the attacking side.I also decided to name certain areas, as this is crucial for competitive gameplay and effective team communication.

RESEARCH

I started by studying the best maps according to the community and pro players. I tried to understand what makes them better.

GOALS

Then, I set specific goals to focus on during the creation of this level.

RAPID PROTOTYPING

I decided to skip paper design and create a quick prototype in Unreal Engine 5 for several reasons:1. This is a solo project.
2. It saved me a lot of time since I could quickly test multiple blockout variations and determine the level geometry I wanted.

BLOCKOUT

I created the first blockout in Hammer. I placed team spawns and scripts for playtesting.

ITERATE

I did set dressing and modified some areas after the first playtests. I also updated the map on Steam Workshop for further feedback.

My main task was to create a competitive 5 vs 5 map that would stand out visually and conceptually from the current map pool. Another key objective was to design a visually distinct map using existing assets. After analyzing the available map pool in CS2, I realized that there has never been a winter-themed competitive map. I wanted the map to stand out not only in its visual style but also to be balanced and offer intuitive navigation. Additionally, it was important for me to minimize visual clutter for a clearer gameplay experience.

REFERENCES

PROTOTYPE

Then I created the blockout and also implemented:

At the moment, the map has gone through four iterations:

• ArtStation Iterations

CHOKEPOINTS

CTs should have a shorter path to bomb sites, but it's crucial to ensure that both teams have equal opportunities to engage and prepare for encounters in critical areas.

TACTICAL UTILITY USAGE

Spaces should be designed to allow effective grenade usage for both offense and defense, adding more strategic depth to each round.

COVERS

Cover provides protection, map control, and tactical advantages, allowing for diverse positioning and playstyles.

TRICK JUMPS

Trick jumps add map dynamism, enabling players to reach unexpected positions, which enhances the depth of gameplay.

ROTATIONAL PATHS

It's crucial for both sides, allowing for fake plays and faster defensive rotations. However, they must be well-balanced to ensure fair gameplay.

Chokepoints are critical areas on the map where players from opposing teams inevitably confront each other.1. Set the pace of the game – Players must reach these points in time or secure strategic positions to gain an advantage.
2. Impact map balance – The design of chokepoints ensures equal opportunities for both teams to engage effectively.
3. Facilitate tactical gameplay – These areas can include open spaces for firefights, cover for protection, or features that encourage strategic use of grenades.In the main map pool, there are typically 3-4 chokepoints. My map currently has four chokepoints, with Office being more "situational."I decided that this is a good amount for a 5v5 map because players will have to take more risks and sacrifice certain areas to gain control over others. Lurkers and entry fraggers will have more opportunities and space to play on this map. AWP players on the CT side can hold multiple areas at once, but they will have to play deeper and give up control over certain chokepoints.

T SIDE

CT SIDE

CT SIDE

On Site B, CTs have five different cover positions to play from.

1. Image Overview:

These cover positions also allow players to use utility effectively to delay the enemy while their team rotates.

2. Image Overview:

T SIDE

T-side has significantly fewer cover options when attacking, as they typically rely on utility to open up the site. However, there are still a few key aspects to consider:

1. Image Overview:

2. Image Overview:

What truly balances this B site is the effective use of utility.

It was also important for me to include trick jumps, as they are a classic feature of almost every Counter-Strike map.

Successful trick jump helps:

Unsuccessful trick jump:

Trick Jump on My Map:

Rotational paths are crucial for both teams. CTs rely on rotations to assist teammates on bombsites, while T-side uses rotations to redirect attacks (fake plays).In this example, I focused on rotational points between floors, excluding Long, Garage, and B from consideration.I aimed to emphasize rotations between the ground floor and -1 floor.

Rotational Points:

1. Ventilation is a highly convenient connector between the ground floor and -1. It is located at a neutral point, making it a 50/50 contest for both teams.2. Stairs are positioned closer to CTs, but T-side has a chance to contest them. This is a strong position due to its proximity to A and B. If T-side gains control, CTs will struggle to regain map control.3. Ramp is a highly contested rotational point, where both teams will fight for control.4. Control is a safe rotational point for T-side, allowing them to return to mid or long.5. Cave is a safe rotational point for CT-side, enabling them to rotate back to B.

From the very beginning, my task was to create a map that could resemble a real place, as all the maps in the competitive mode are designed to look like realistic locations. That's why I chose the theme of a "secret base" in Antarctica.

1. For the T side, I created a bridge and a tunnel leading to the entrance of the secret base. I also added a broken fence and a truck they arrived in.2. I did the same for the CT side. Since the road was already occupied, I decided it would be interesting to create a helipad as the entry point for the CT side.
I did this because CS maps often use this small element of environmental storytelling to show players where the teams came from.

It was important for me to make each area visually distinct. This was crucial primarily to:

Initially, when creating the lighting, I used omni lights set to movable, which reflected light from objects in real time. However, this approach caused several issues:
1. I didn’t like the circular shadows cast by the lamps.
2. It was very resource-intensive in terms of video memory, which negatively impacted performance.To address these problems, I switched to rectangle lights, stretching them across the entire ceiling. I also set the lights to baked and static. This significantly improved performance, and I liked how it evenly illuminated entire rooms.Additionally, in some rooms, I added windows, which made the spaces slightly brighter and contributed to the overall lighting.

When I started working on the minimap, I realized that Hammer 2 doesn't include a built-in plugin for creating one—or at least, I couldn't find it. However, I came across a plugin by Jimwood called "Radgen." This tool allowed me to create a simple yet effective minimap with a clear color scheme.The minimap highlights:
- Pathways
- Enemies and Teammates
- Points A and B
- Spawn zonesI also implemented a smooth transition between the ground floor and the first floor to ensure players wouldn't get confused about their location.link to Radgen

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