COD:WWII

Ambush:

My main responsibility on Ambush was designing the German base and surrounding terrain, as well as first pass art. We wanted to allow the player to stealth through the base in different ways. I encouraged this by providing multiple paths into the base on the way to one of two overlooks. The main concern was providing simple layered choices while preserving the players freedom to ignore stealth and go hot. The layout is carefully arranged to maximize performance with optimal occlusion and sightlines to allow for this large open Airfield without compromising gameplay.

I designed and scripted the combat in the base after the sniping sequence at the gates, as well as the cinematic tower sequence. I was also responsible for logic that improved performance by dynamically controlling all of the expensive lighting at the air base using player location and view, at the direction of our talented lighters.


The Rhine:

I was responsible for doing a first pass on the German side of the Ludendorff Bridge as well as the Erpeler Ley mountains to approximation. Additionally I arranged the design of the bridge for the explosion sequence and following gameplay. I also designed the arrangement of geo and cover for the final portions on the hill at the end of the level.

I hand timed all of the FX and handled the scripting for the bridge explosion sequence. In order to save on animation resources, every single prop in the sequence is controlled by logic that approximates reaction to force with rotation and velocity based on vector direction of the explosions around them; this is further modified by sliding scalars based on size of the object in order to make the logic dynamic for all of the props and simplify the amount of work I need to do.

I wanted the battle on the bridge after the explosion to be difficult and cinematic. The same set of Stukas continuously cycle on paths bombing the bridge over and near the player; this is achieved with logic designed to assess the players location on the bridge and automatically pick the most relevant staffing paths near the players location. As the Stuka’s bombs go off near the player in the water, I choose dynamically from hand placed splash FX locations to soak nearby characters and the player’s camera. Proximity and direction is taken into account when the number of droplet FX is spawned onto the screen. Nearby characters are given drench FX on the sides of their bodies exposed to the explosion. The cover and prop arrangement is designed to keep pulling to player forward at a good pace and provide for fun engagements with multiple lines of Germans, including Germans manning the towers.

The final battle up the hill was meant to feel like a last difficult push. The combat arrangements are thick and difficult, with scripting set up to respond to player path choice up the hill. I made mortar logic to target the player and U.S. troops as they make their push, but to never do much more than injure the player. Allied planes are arranged to engage in entertaining strafes over the combat as it progresses.