XINYU
ZHANG
"LAYNE"
(Technical) Level / Game Designer
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Overview
Tool
Unreal Engine 5
Platform
Player Count
Type of Fish
1 / up to 4 (Split screen)
4 (including the default)
PC
Development Time
14 Weeks
Team Size
45 (18 Level Designers)
Map / Track
Race Mode
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Grand Prix Tournament
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Single Race
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3 maps (Park, Lost City, Market)
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3 laps each map (~ 6 minutes)
Contribution
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Worked on Market (one of 3 maps)
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Designed track at early stage
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Designed early environment
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Provided ideas for items and fish abilities
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Designed and implemented Audio with programmers
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Communicated with other specializations to ensure SFX are in line with and properly implemented
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Regularly tested and debugged
ABOUT
Seafeud is a 3D arcade racing game for the PC platform, where players can capture various fish in the environment and use them as means of fast transportation. In addition to utilizing the unique abilities of the fish, players can also make use of randomly generated items in the environment to defend themselves or hinder other players.
Hooks
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Theme: Underwater Lost City
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Capture fish and utilize their unique abilities
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Strategic use of items
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fast-paced and intense competition
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Water-themed SFX and jazz fusion BGM
Responsibilities
Track Design
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During the early stages of development, I joined the strike team and conducted research on popular racing games in the market, such as Mario Kart, to gather interesting ideas.
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I also explored the functionalities of UE5's Lumen, a dynamic global illumination and reflections system, as well as MRT (track editor tools).
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Afterwards, my responsibilities included testing and creating bank turns, focusing on metrics, methods, and key issues. After conducting all the research, I presented my findings to the team to ensure alignment and shared understanding.
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As we progressed to the formal track production phase, I took charge of early track design, including brainstorming, prototyping, and initiating the creation of whitebox models. I primarily focused on designing jump pads with alternate paths. My main design principle was to follow a well-crafted skill progression curve and provide players with novel and creative experiences while staying aligned with the team's vision.
Initial Track Design
Initial Track Design (Digital Version)
Whitebox Interim
Whitebox
Environmental Design
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During the pre-production phase, before officially designing the tracks, I joined the strike team responsible for brainstorming map themes and designing tracks and environments based on those themes.
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I proposed the theme of "Lost Underwater Metropolis," (#3) focusing on underwater creatures and mysterious biotechnology to align with the unique abilities of different fish in the game mechanics.
Theme Ideation
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Ultimately, through a team vote, we decided on the theme of "Pirate Graveyard." My main responsibility was designing the two-level track and environment within the pirate ship.
First Floor of the Pirate Ship
Second Floor of the Pirate Ship
Sound Design
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After my initial involvement in track design, I was assigned to the audio team to handle the sound design and implementation for the entire game. As I had limited experience in sound design, I began by deconstructing the sound effects and music of a Mario Kart game and conducted research on audio implementation in UE5. Once I familiarized myself with the basics of audio editing, I collaborated with the audio team to implement the sound effects in the game.
Audio Deconstruction of Mario Kart
(40 rows in total)
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Afterwards, I created a sound asset list spreadsheet to organize and categorize all the sound effects and music required for our game. The spreadsheet included categories, specific sound effects, in-game variable names, source audio file names, positions, attenuation types (for environmental sounds), priorities, implementation status, descriptions, and development notes for the programmers. And I kept the sound asset list updated as we progressed further in the development process.
Sound Asset List (175 rows in total)
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Then, I was responsible for sourcing and collecting suitable audio from designated audio websites and integrating them into the project. (The music was created by a dedicated composer)
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For audio that required special effects, I performed basic editing in Adobe Audition before incorporating them into the project.
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I collaborated with the audio programmer to discuss the implementation logic and figure out the usage of attenuation (adjusting the volume of the audio based on distance), and together we implemented the audio effects and music.
Organized Audio Files & Implemented Sound Actors in the Scene & Adjusted Attenuation Range (Orange Circle in the Scene)
The Sound Manager I've been working on all along (Sound Clips, Sound Class, Attenuation Type. Attenuation Range, Volume, etc.)
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In the later stages, alongside regular implementation, I also joined and organized playtesting sessions to gather valuable feedback, and collaborated with the team to address any issues and debug.
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We encountered significant problems with the UI, requiring a structural overhaul, and as there was no dedicated person for UI sound effects, I stepped in urgently to re-organize, find new audio elements and implement in collaboration with the programmer.
Urgent restructuring of UI sound effects based on the new UI structure and implementing contents
Postmortem
What Went Well
Satisfying Product
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Despite challenges and unexpected incidents, we successfully launched the game with high-quality standards, overcoming all obstacles along the way.
Collaborative Process
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The collaboration with other teams was efficient, resulting in a satisfying final product.
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The seamless integration of environment, sound effects, tracks, and more created an immersive experience that captured the theme effectively.
Learning Fast and Process Optimization
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We overcame challenges and optimized our workflow, enabling rapid development iterations and modifications for a seamless and efficient process.
What Went Wrong
Inaccurate Assumptions
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Unforeseen inaccuracies in predicting certain technical aspects, like UI and audio, created difficulties in resource allocation, requiring additional time for research and development.
Lack of Synchronization
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At times (especially early stages), there was a lack of timely communication and sharing of work among different teams, resulting in information discrepancies, such as unawareness of newly added assets and duplication of efforts.
Insufficient knowledge in a new area
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Inadequate audio expertise within the team resulted in limited resources allocated to the audio department. This led to challenges during late-stage testing and bug fixing, highlighting the importance of addressing audio-related issues earlier in development.
What I Learned
Proactive Planning
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Proactive and thorough planning is crucial for every department. Seek input from team members with relevant expertise in areas where knowledge is lacking, anticipate potential challenges, and have solutions prepared in advance.
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For example, members of other teams might have audio production experience, but due to a lack of early inquiry or consultation from management, the audio team spent a significant amount of time researching issues that these members might have known how to resolve.
Team Collaboration
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Effective team collaboration is crucial in project development, requiring timely updates and shared information to keep everyone aligned and on the same page.
Various Types and Team Design
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Enhanced design understanding across this different game genre and learned how to align personal and team visions for seamless collaboration.
Priority List
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Creating and adhering to a well-defined priority list is crucial for effective team development. Focusing on high-priority items ensures that each milestone delivers expected results.
Gallery
