I joined Guerrilla Games in Amsterdam in 2009 to work on a then-unannounced Killzone 3.
I ended up working on three of the nine levels in the game.
I feel I was able to hit the ground running, picking up the proprietary tools at Guerrilla quite quickly, and also transferring my knowledge of 3dsMax, which I hadn't used in years, to Maya. I found the game a joy to work on, with a very strong direction towards intense action and with a very senior team fresh off the previous game knowing what needed to be done in what actually turned out to be quite an ambitious time-frame.
“The sniper mission stands out as one of the most intense sequences in recent memory. This game is chock full of fantastic moments.”
I was placed on Pyrrhus Evac to completely re-script the on-foot sections from scratch as the last of many owners. Together with those sections, I also maintained the opening on-rails APC drive until we shipped.
“Even the more standard levels that stick mostly to running and gunning do a good job of giving context to your actions and keeping intensity levels high. For instance, you fight your way through a junkyard that funnels you through its corridors in conventional fashion, but then pits you against hovering security drones that deliver death surprisingly quickly, all while a couple of Helghast snipers take aim.”
I took three of the five sections of the Scrapyard from a single-A4-page Brief to completion. I began with 'paper' designs in Visio and then brought them to graybox life in Maya. I set up entities and annotations for AI (e.g. waypoints) and systems (e.g. ‘lean n peeks’ for first-person player cover and AI cover) and went through scripting passes where I added enemies, objectives and placeholder dialog. I then iterated based on review feedback and internal playtests, before the level went to Environment Art. After this I integrated the changes, fixed things which had broken and finally, fixed bugs that came in. At some points, I even care-took the final two sections of the level as well, fixing bugs and solving integration issues which came up. As external playtests and final Director-reviews took place I addressed feedback coming from those while also polishing the level until we shipped.
“[...] there are those final few minutes, technically another on-rails shooter section but completely at odds with everything else you've played over the last eight hours - a few more of those next time, please guys.”
I was tasked with prototyping the final Space Chase sequence which was viewed as the riskiest part of the game because it was so different from everything else. I worked on successfully proving the concept, and took it to second-pass.