Beyond Good and Evil 2 - TBC In Development
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This game is still in Development, so I can only talk about publicly known details.
I am currently a part of the Ubisoft Mainz team over in Germany, working as a Senior Game Designer on the Beyond Good and Evil 2 project. Working together with the lead studio over in Montpellier, we are looking to create a never ending RPG Space adventure for our players to explore together in a shared universe like no other!
From designing core aspects of the second-to-second gameplay in Space, by utilising skills and statuses with Ships and how they interact together and fit in with the lore of the world and it's design, all the way to self expression ideology via systems like emotes and media creation tools, I have been working with and guiding team members of all disciplines in our studio, and the partner studios, to help create the next generation of shared RPG adventures in Space.
I am currently a part of the Ubisoft Mainz team over in Germany, working as a Senior Game Designer on the Beyond Good and Evil 2 project. Working together with the lead studio over in Montpellier, we are looking to create a never ending RPG Space adventure for our players to explore together in a shared universe like no other!
From designing core aspects of the second-to-second gameplay in Space, by utilising skills and statuses with Ships and how they interact together and fit in with the lore of the world and it's design, all the way to self expression ideology via systems like emotes and media creation tools, I have been working with and guiding team members of all disciplines in our studio, and the partner studios, to help create the next generation of shared RPG adventures in Space.
All media and images are publicly released.
Battlefield V: Firestorm - 2019 PC, PS4 & Xbox One
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Battle Royale done the Battlefield way. This was a project headed up by Criterion with help from DICE and developed using Frostbite over the course of around a year. Creating the largest map to have ever been made in Battlefield and adding more vehicles, weapons and ways to play as a Squad than ever before, we truly pushed the boundaries and ideas of what it was to create Battlefield experience and shaped it into a Battle Royale mode.
While my job title on this project was "UI Designer", I spent a large part of the development cycle as a member of the Game Design team, in charge of how we could bring the unique Battlefield style of Class based gameplay into a Battle Royale experience. Working through concept into prototype design with many of the disciplines and crafts in the team, we created abilities, passives and playstyles that suited each of the 4 classes and had a version of each playable in software. Sadly, due to project time constraints and the work needed to polish these classes to the level we wanted them to be at, Classes were ultimately scrapped from the game mode. Following this, I was in charge of UI and UX design for the mode and, with the help of the UI team, designed and developed the inventory system, the map and it's interactions, the squad down and revive feedback and flows and the entering, matchmaking and exit flows for the mode.
While my job title on this project was "UI Designer", I spent a large part of the development cycle as a member of the Game Design team, in charge of how we could bring the unique Battlefield style of Class based gameplay into a Battle Royale experience. Working through concept into prototype design with many of the disciplines and crafts in the team, we created abilities, passives and playstyles that suited each of the 4 classes and had a version of each playable in software. Sadly, due to project time constraints and the work needed to polish these classes to the level we wanted them to be at, Classes were ultimately scrapped from the game mode. Following this, I was in charge of UI and UX design for the mode and, with the help of the UI team, designed and developed the inventory system, the map and it's interactions, the squad down and revive feedback and flows and the entering, matchmaking and exit flows for the mode.
Star Wars Battlefront II - 2017 PC, PS4 & Xbox One
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Joining the UI team at Criterion as an embedded Technical Designer and UX designer, I worked on many of the UI elements for both Starfighter Assault , where you can fly and fight in the iconic star ships of Star Wars in objective based PVP modes, and Arcade mode, where you can control all of the heroes and villains from the Star Wars movies and TV shows, in scenario missions that let you experience what it is like be that character both on your own and in coop, utilising the Frostbite Engine. My roles here included making sure that the player had all of game mode information and visual feedback they needed to experience the game mode as clearly and easily as possible to facilitate as much immersion as possible as well as the creating and handling the intended UX for both modes as well.
In order to do this, I worked very closely with the designers of each game mode from prototype to ship and put together the UI designs for the HUD and how they start and end each game mode alongside the UX rulesets that we used to deliver the best game mode and flow experience we could. I also helped the game design team by putting together some of the scenarios using the heroes and villains from Star Wars in the Arcade mode and co-developed the personal best and scenario tiers system the game mode used with these designers as well as working with rendering engineers and our artists to make Arcade mode work in split screen.
In order to do this, I worked very closely with the designers of each game mode from prototype to ship and put together the UI designs for the HUD and how they start and end each game mode alongside the UX rulesets that we used to deliver the best game mode and flow experience we could. I also helped the game design team by putting together some of the scenarios using the heroes and villains from Star Wars in the Arcade mode and co-developed the personal best and scenario tiers system the game mode used with these designers as well as working with rendering engineers and our artists to make Arcade mode work in split screen.
Hidden Agenda - 2017 PS4
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I joined Supermassive Games as a Game Designer for this project, a crime thriller based narrative game, developed using the Unreal Engine and Sony's PlayLink system, where you play as Becky Marney, a detective trying to solve the mystery of the "Trapper Killer". Decisions you make have reactions that will drastically change how your game plays out, and this can be played both solo or Co-Op with your friends. My role on this project was to set up the choices in the game that impacted the branching narrative moments as well as some of the Hidden Agenda challenges for the Co-Op experience.
This involved working alongside our in-house narrative team as well as the script writers in my day to day to ensure that the gameplay choices correctly reflected the impact of the story and flow felt accurate and genuine. I also had to work closely with the gameplay engineers in charge of the PlayLink mobile app to create the "Hidden Agenda" challenges we set the players and tried our best to make them as diverse and interesting as possible using the limited capabilities of a mobile interface.
This involved working alongside our in-house narrative team as well as the script writers in my day to day to ensure that the gameplay choices correctly reflected the impact of the story and flow felt accurate and genuine. I also had to work closely with the gameplay engineers in charge of the PlayLink mobile app to create the "Hidden Agenda" challenges we set the players and tried our best to make them as diverse and interesting as possible using the limited capabilities of a mobile interface.
Forza Horizon 3 - 2016 Xbox One
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Joining the Playground Games team as a Level Designer, we created this open world racing experience using Forza Motorsport's Fuel engine and based the world off some of the key locations in Australia, to give players the freedom to choose what cars they want to drive, what races they want to experience and how they expand their Horizon Festival, turning the world into a playground for them to enjoy.
My roles here included working with the other level designers to set up the road network for the world, making sure it was fun to drive using things such as undulation to keep it fresh, crafting the abundance of race routes within it as well as the showcases, jumps and multiplayer playground locations for additional game modes like CTF and Infection. After the world was signed off, I moved onto the readability and navigation of the race routes and did as much as I could to make sure that players had as much visual aid as we could deliver in the world to make their race route understanding as easy and intuitive as possible. This was done through the use of props and assets to create silhouettes in races that influence the players movement, placing barriers in important locations to catch them when they make a bad turning or get pushed off the road, and establishing visual indicators, such as flags, to highlight that something is coming up over the crest of a hill which they will need to deal with.
This had us working with practically every discipline in the studio, whether it was with Engineering for tools and vehicle behaviour or the Games Design team to make sure the race routes were delivering against the goals of the race types and that the world facilitated all of the ambient gameplay systems they wanted. Our biggest collaboration was with art, environment art specifically where we worked very closely with them to get the right balance between our gameplay desires and their graphical desires to make the most beautiful, but also most fun version of the game world we could.
My roles here included working with the other level designers to set up the road network for the world, making sure it was fun to drive using things such as undulation to keep it fresh, crafting the abundance of race routes within it as well as the showcases, jumps and multiplayer playground locations for additional game modes like CTF and Infection. After the world was signed off, I moved onto the readability and navigation of the race routes and did as much as I could to make sure that players had as much visual aid as we could deliver in the world to make their race route understanding as easy and intuitive as possible. This was done through the use of props and assets to create silhouettes in races that influence the players movement, placing barriers in important locations to catch them when they make a bad turning or get pushed off the road, and establishing visual indicators, such as flags, to highlight that something is coming up over the crest of a hill which they will need to deal with.
This had us working with practically every discipline in the studio, whether it was with Engineering for tools and vehicle behaviour or the Games Design team to make sure the race routes were delivering against the goals of the race types and that the world facilitated all of the ambient gameplay systems they wanted. Our biggest collaboration was with art, environment art specifically where we worked very closely with them to get the right balance between our gameplay desires and their graphical desires to make the most beautiful, but also most fun version of the game world we could.
Older Projects
Get in Touch
If you would like to contact me you can either:
Email me at: [email protected]
OR
Find me over on Linkedin at: https://www.linkedin.com/in/stevie-adams-8a32a935/
Email me at: [email protected]
OR
Find me over on Linkedin at: https://www.linkedin.com/in/stevie-adams-8a32a935/