We agreed with the team to have spatious linear levels that allows the player to have different combat options (classic punch, ground pound, grab and throw...). The sequence of parts aims to cross the factory and discover the origin of the rebellion of the robots. In addition, the iteratives shapes of the levels was achieved in Unreal Engine 5. This allowed me to get an overview of the overall size of the levels but also to concretely show the rest of the team what our project will look like in order to have design suggestions or requests for narration, art and programation. In order to keep a golden path clear, the strategy was to always see the exit as soon as you entered a room.
Then, the layout of the different rooms was refined to better create a rhythm. The first rooms serve as a tutorial to learn the controls and how to fight. Further, the player is faced with many waves of enemies or environmental obstacles that add a layer of difficulty. To offer moments of pause in the action, the player can discover side rooms where there are collectables or audio log.

Once done, we started to implement a strategy to integrate art assets into the level. I have create 2D plans, visual code if needed for small tasks like adding movement with sequencer or UI, give feedbacks between level design team and artist team... So I could put the basic art shapes in the level and the artists just had to modify the planes with the mesh to change the appearance and details of the level.  Different strategies have been set up for guidance : see the exit as soon as it enters the room, the placement of waves of enemies pushes the player to advance in the room, the interactive elements are yellow... 

All its elements are part of the navigation strategy to guide the player towards the end of the level. First, because they serve as an indicator for the player to understand where to go and how to get there. Secondly, they aim to touch the curiosity of the player who may want to visit the levels in detail, find new areas to face enemies according to his strategy, or collect stickers. 

To create an event system, the level design team has listed all the events that the player can encounter while crossing the arenas.
For example, when the player enters the room, a brief dialogue begins, giving them time to look at the room and see the exit. Then there is a tutorial to learn the grab. Several objects around him will allow him to try and enemies spawn below are placed to encourage him to use this mechanism to understand it. Once the enemies defeat the door opens and an objective marker appears.

Once all the rooms studied and the list made, I presented and detailed our requests to the programmers. Their comments on the feasibility of adjusting the list. Once this one finalize we give priority to the tasks so that we can quickly try the game during playtest.

A room depends on a data asset that with an increment allows to pass from one event to another. The event is linked to a blueprint like spawner, trigger, sequencer, delai... Playing with all its parameters I adjust the rhythm of the game between quiet moments and more intense ones. 

Every week we organized sprints to know the progress of the team. This allows the project to evolve quickly and try new ideas concretely. In order to simplify everyone’s interactions in Unreal I organized a hierarchy with sublevels which allows all departments to add their iteration at the same time. A standardized naming system was also set up to facilitate communication. 
In addition, regular meetings during the week with other leads allowed me to understand how the project evolves, but also to find solutions to blockers. An example of a blocker encountered was that nothing justified the doors unlocking once the enemies are defeated. The programer propose to add a timer or a death counter to explain to the player how to open the door. The narration propose to add an adjuvant. The artists proposed to use breakers to give an interactive element to open the door. By gathering all these ideas, the design strategy was that the number of robots to overcome is the condition that allows to trigger the actions of the adjuvant. The latter, has the ability to hack breakers and machines which allows him to open the doors. While waiting for the adjuvant unlocks progress, the player must beat the waves of enemies, explore the room to find a collectable or audio log, use character skills and environment to create a strategy to defeat a large number of enemies without dying. 

Communication between leads is very important to avoid being surprised by content during sprints. The method we have set up in the environment team is to make the designers and artists work in a one week shift. The production of the blocking was done by the level designers, then the week after the artists add a first pass of level art and comments to improve the room.
 
My role was to check the progress of the tasks, validate the changes between the blocking and the level art, bring solutions to the problems encountered if necessary. The direction of the gaze was an important issue that required special attention from leads. For this, we have established a color code and lighting atmosphere in the rooms to mark a progression from the beginning to the end of the game. The location of the exit must be visible from the entrance, otherwise the guidelines have the obligation to point to the exit.

I also remain attentive to other departments in order to provide explanations on the design intention so as not to leave room for divergences. In the end, we all got into the habit of having our work and ideas validated before adding them to the game. 

In this project I discovered the work of lead. I made sure that the level design, the narration and the game design communicate every week during the review sprints in order to find harmonious solutions. For this, I prepared in advance the points to discuss, took screenshots and make individual meetings when necessary.
Much of the work has been producing documentation, minutes for the rest of the team, as well as giving feedback on each iteration. It helped me to keep an overview in the project and I also really liked taking the time to debate on certain points until finding the right solution.

Being lead environment was a little different. My role was to be present at meetings to represent the members of the design team (level, narration, game design...). I made sure that the artistic proposals were feasible with design. Otherwise, I always try to find an alternative so that everyone has the chance to own the project.
I give a lot of feedback between blockings and level art to keep continuity. So it was me who took care of the hierachy of the sublevels of their streaming method and to keep it organized among all the members. I also used the playtests organized every week to find out how to improve our game and push the concepts further.

In the end, being a lead was a great experience that showed me the importance of having a communication between leads and directors of all departments, but also the fact that having rigor is essential to successfully lead different people in their tasks. This experience that places human relationships at the center of creating a unique game has really been stimulating and challenging.