The next step was to begin laying the foundation for my entire level. For this, I began by building the basic dimensions of each room and connecting areas, and then followed that with a pass using custom props. For scale, I imported an FBX file I keep on hand of the UE4 Mannequin to compare to the size of each object constructed in Maya, ensuring correct consistency of the assets scale.

The process of building the space took several iterations. I exported the mesh frequently and imported it into UE4, double-checking the scale and testing the gameplay before going back to Maya to repeat the process as needed.

For gameplay, I searched through every available FPS mechanics pack on the Unreal Marketplace to find the one with the most stable enemy AI and overall FPS functionality. After choosing the best asset pack for the desired gameplay, I began to implement the knowledge I learned using a tutorial to create the Titanfall style wall run component that, when attached to a player character, allowed them to wall run on every flat (or nearly flat) surface while simultaneously being able to utilize all basic FPS mechanics. Additionally, learning to work with the character controller proved to be a valuable tool in improving my confidence and abilities with Blueprints, in addition to greatly expanding my understanding of components, functions, and macros.

 Using detailed proxy models made in Maya, I set up 15 blueprints that were utilized throughout the level. These included a checkpoint system, alarm lights, custom UI, and moveable platforms. The checkpoint system worked with custom kill volumes within the world, and its respawn system allowing the player to restart at the closest checkpoint to which they had died. The alarm lights were used for player conveyance and to increase immersion through added urgency. The UI that I built had a counter for collectible objects and updated quest objectives based on tasks completed, showing to the player how far along in the level they were and what they had to do next. The moving platforms would activate when shot by a raycast that extended from the gun and then extend outward for 10 seconds before retreating to its starting position and changing the light color above the door. All of these were created from scratch using UE4 Blueprints.

Once the initial whitebox had been completed and I had created my arsenal of blueprints to use within the level, I began populating it with encounters. These included multiple enemy encounters throughout each section of the space, emphasizing player engagement by pulling the player through the space. Additionally, explosive moments where bombs would detonate based on trigger box overlaps lined outdoor spaces to mimic the intensity of wartime explosions, pushing the player further into the level. I encouraged multiple forms of combat by ensuring that the player had different routes to take each time they faced an encounter, as well as several unique weapons placed around the map near areas where those weapons would thrive to encourage player engagement. For example, the shotgun is presented in a close-quarters area where enemies are near the player with an abundance of cover to hide behind, encouraging the player to rush the enemy using the shotgun. The player could hide behind various covers and shoot from afar. They could attack brazenly and run along the walls or simply walk through the level to their destination, wall running only when necessary for a more straightforward experience. It is up to the player how they want to traverse the level, and I gave them the tools to do so.

The last missing piece of the puzzle for this was adding objects within the world that would make it come alive. One of the objects that I decided to create to bring the space to life was a computer station that directly mimicked the one used in Titanfall and Doom Eternal. It had screens that changed color depending on the status of the hanger door and would be activated by the player and would move the hanger door pieces, turn on a light to draw the player toward the opened door, and play an activation sound. Another element that really brought the space to life was creating an operational factory using sequencers to change the level’s layout slightly in real-time. I created several sequencer events that began on play and would loop through its animation of building a shipping box, or large walls piece by piece and, once complete, sending it off-screen deeper into the factory and out of sight to begin again. The more pieces of the box/wall are assembled, the easier the obstacle is to traverse; crossing the building boxes using the wall run and optimal timing allows the player to begin an alternative path that encourages a different style of gameplay than the golden path.