During May and June 2025, we worked for 6 weeks on a project based on 18th century Scotland with a team of 23 people from all the disciplines at our school. The game consists of a series of puzzles based on the mechanics of going back in time.
Puzzle Game
Unreal Engine
PC
Introduction video
Game Screenshots
Touching the stone launch a cinematic and start the game.
The player understand the time rewind thanks to the boats going against the river's current.
The Main Menu.
Touching the stone launch a cinematic and start the game.
Concept and Gameplay
Time Rewind USP
The game uses the mechanics of time travel to move objects and use their movement to progress.
Puzzle Game
The player will be able to interact with a number of gameplay elements, including crates, the basic element, but also rivers and seasaws.
The Unseelie court
This fragmentation of time is supposed to reflect a dichotomy between the normal world and the Unseelie, where time flows differently.
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The use of my experience on RPG Maker
Level Design Draft with RPG Maker MV
To allow the artists to better visualise our LD intentions without having to define a blocking system that would be longer and more complex to set up, I produced a rough level design for my island using RPG Maker MV. Knowing the software very well, I was quickly able to give life to the ideas and intentions I had for this area of the game. The complete level design was playable, which made it even easier to understand.
Map Level Design
My contribution
Game Concept and Gameplay bricks
As a game designer, I was primarily involved in adapting the pitch proposed for this project, which came from a game artist, into channels that encouraged interesting game design features. With some of my colleagues, I also concentrated particularly on the bricks that were suitable for the USP defined beforehand.
Level Design
Once the game design direction was more detailed, I was able to work on the level design of the game's second island. This one was supposed to reflect an in-between between traditional Scotland and the modernised one. As we were working with artists, I also sought to highlight some of their preferences, which explains the presence of particularly pronounced relief.
Integration and covering
Finally, one of the biggest parts of the end of the project turned out to be the joint integration with the artists. Firstly, the terrain had to be adapted to suit the different level design situations, but also the layout to ensure that the initial intentions and the way the game worked were respected.
Learnings
Working with 23 persons
While this isn't my first group project, it's the first time I've worked with 23 people on a consistent basis for almost two months. It's been an enriching and ultimately enjoyable experience, which has given me a better understanding of communications between the different sectors, particularly with regard to the involvement of game artists and level designers.
Level design in collaboration with artists
As a result of this collaboration, I think I've gained a better understanding of what the artists expect from this type of project and how they organise it, particularly in terms of dressing the pitches and sets. In the future, this will help me to better define my possible scopes for group work.
Make a game in short time
Finally, this project definitely made me realise that it's rarely possible to finish a game in time, at least as much as you'd like to polish it. However, it also made me realise how it's possible to adapt your finishing touches to get the most satisfying result at the end of the deadline.