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Submitted URL: http://www.maxgiddens.com/
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Submission: On July 23 via api from US — Scanned from CA
Effective URL: https://www.maxgiddens.com/
Submission: On July 23 via api from US — Scanned from CA
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Level Designer // Projects About Resume Hello, I'm Max Giddens Across more than 8 years, I've dedicated myself to creating compelling levels for both single-player and competitive multiplayer experiences. During that time I’ve collaborated with discerning clients like Red Bull, Logitech, and JBL, delving into their expectations and transforming their visions into exceptional products. Moreover, I've earned recognition from Valve Software, who included my work in a Counter-Strike: Global Offensive map pack. My diverse background in areas such as scripting, environment art, and graphic design equips me with the versatility to be an adept communicator and collaborator across various disciplines. My skill set is entirely self-taught, honed through years of hands-on practice, experimentation, and creative problem-solving, all driven by a genuine passion for the art of level design. I'm excited to continue adding to and leveraging my experience and broad skill set in ways that contribute to, and hopefully elevate, the work of collaborative teams and passionate individuals. Resumé (PDF) LinkedIn Contact Me //Name Please enter your name. //Email Please enter a valid email. //Message Please enter a message. Reach Out Thanks for reaching out! I'll get back to you shortly. Projects Red Bull Flick// 2v2 Tournament Arenas Tinkerer's Fortress// 3rd Person Puzzler Logitech Playmaster// Player Hub Facade// Competitive FPS Map Red Bull Flick //Project Showcase Summary Red Bull Flick is a competitive 2v2 Counter-Strike tournament hosted annually by Red Bull. I worked as part of a three-person team to deliver eight fully original levels and a brand-new game mode for the tournament. These levels each featured a unique theme that contributed to an overarching aesthetic while also being competitively tuned for our new game type. Jump to Section Defining the Project Visualizing Themes Building Game Mechanics An Economy of Time Working with a Brand Map Case Study Software Used Efforts * Collected reference images to expand on themes requested by Red Bull and utilized concept art to develop level-specific imagery. * Planned and grayboxed three levels focusing on competitive play, balanced timings, lines of sight, and pathing variety. * Playtested each level with groups on Discord and made revisions and fixes based on the conclusions I drew from trends in the collected feedback. * Scripted a game mode with three alternating control points and supporting weapon/utility pickup mechanics. * Supported the creation of five additional levels, collaborating with an environment artist and an additional level designer. * Visually implemented all mechanics (weapon pickups, death effects, capture points, and supporting UI elements) and created dynamic in-world user interfaces. * Created environment art for three levels and contributed to several others totalling dozens of textures and almost 200 models. Download Project See Process Breakdown See Next Project Play PausePlay % buffered00:00 00:00 UnmuteMute Disable captionsEnable captions Settings * CaptionsDisabled * Qualityundefined * SpeedNormal Captions Quality Speed * 0.5× * 0.75× * Normal * 1.25× * 1.5× * 1.75× * 2× Exit fullscreenEnter fullscreen 1 Defining the Project //Red Bull Flick Red Bull initially approached my team to discuss Red Bull Flick, with three main tenets in mind: fast-paced gameplay, arena-style mechanics, and a sci-fi theme. To meet these objectives, we started by developing a 2v2 capture point game mode and other supporting mechanics that would deliver an accelerated gameplay experience. In total, my team designed a suite of eight levels, five qualifying levels, and three more finals maps to support the new mechanics and serve as the basis for a tournament structure. Each level in the qualifying group expanded on concepts introduced by Red Bull, emphasizing a unique movement mechanic and individual sci-fi theme that contributed to an overarching narrative. I was independently responsible for level design and environment art for three levels and contributed to level design for two more in Red Bull Flick. Additionally, I scripted the majority of the code for the game mode that was used across all of the maps and created a substantial portion of the environment artwork for all but one level. 2 Visualizing Themes //Red Bull Flick As an initial step in developing each level, I used each map's high-level visual identity and placement within the storyline to inform the broad shape of its layout and what movement mechanics would fit the best. Following this, I gathered visual references for each stage that could be integrated into the initial layout of each level wherever they complemented the gameplay. Our team's concept artist provided concept drawings that set the overall visual tone of the project, which I used as a guide to keep each map's individual theme in alignment with the group. Once the individual themes for the maps were established, I built a list of assets that could be reused across maps. These flexible assets could be worked on immediately by environment artists, while the maps were further refined. In addition to finding references for each level, I also drew concepts for some set pieces and interactive elements that would be required. These sketches and references helped me communicate with our environment and concept artist while maintaining the overall vision for the level. Using these resources, I established a workflow with our concept artist to improve areas pinpointed as needing visual improvement. Our shared understanding of the objectives for each area made it more straightforward for them to create concepts that I could then integrate into the level. 3 Building Game Mechanics //Red Bull Flick Before level design began, our team outlined rules for an objective-based game mode, featuring a single active control point that alternates among three distinct locations and deathmatch style respawning. The mode was focused on delivering low barrier-to-entry 2v2 gameplay with quick rounds and intense action that would draw both players and spectators to the event. I implemented the game mode with a combination of scripting in Squirrel, a "C-like" language, and using in-editor objects like trigger volumes, button entities, etc. To make implementing the core mechanics of the gameplay straightforward across the unique levels I created configurable prefabs for functions like control points, weapon spawners, and scoring visualizations. I combined multiple methods to achieve the look and interactivity of the capture points. I modeled the visuals of a point, made prefabs with prearranged models and game objects using the level editor, and scripted functions to read the game's state and adjust the visuals to convey it to players. This process also applied to mechanics like weapon pickups and elevator platforms, and UI elements like dynamic scoreboards and drones. The resulting prefabs enabled level designers to quickly configure the settings of a prefab rather than repeatedly make complex changes to each instance of an element. 4 An Economy of Time //Red Bull Flick Counter-Strike stands out from other popular games due to its in-game economy. While we wanted to preserve the depth of economic mechanics we knew they were not conducive to our fast-paced vision of gameplay. As the new game mode has a maximum potential time frame, where players fight to avoid hitting zero points, we identified time as a potential new currency. To support this replacement economic system I built configurable prefabs for weapon and utility pickups designed for straightforward configuration and strategic placement in any map. These pickup locations formed the foundation of a time-based economy, where players must invest their time, choosing between acquiring upgrades or hunting for kills and securing the objective. The item dispensers on each map were placed and configured so that more powerful items would be further from primary paths and in between the main objective points. This setup helped support the "time-as-currency" concept by forcing players to choose to fight immediately with less powerful items or divert from the optimal path to kit up. 5 Working with a Brand //Red Bull Flick While the project was to include light Red Bull branding, the primary emphasis was to engage players with exciting gameplay and a unique setting. As such, we designed the levels to evoke the branding without overusing it. In instances where we directly referenced the colors, fonts, and imagery provided by Red Bull we carefully adhered to their brand standards. Red Bull also wanted to mitigate the violence of the project's base game, "Counter-Strike". To meet these expectations, we substituted bloody player deaths with explosions of voxels, and replaced terrorist and counter-terrorist team names with "blue team" or "yellow team". These changes facilitated Red Bull in securing several sponsors for the project, whose brands we also incorporated. The implementation of branding on each level walked a fine line, being prominent enough to be noticed and low-key enough to feel "snuck in", and interesting enough to justify itself while still adhering to brand standards. It was also important to consider a broadcast perspective of the level geometry. Many of the levels feature open layouts and walls that are only as high as necessary to maximize the tournament viewing experience. 6 Map Case Study //Red Bull Flick City Palace was one of three levels that I was responsible for from concept to delivery on the Red Bull Flick project. As the first map that players would encounter it needed to establish a baseline layout for the new game type that I scripted for the project. It would also need to set the visual tone for the other 7 levels and deliver on the "futuristic city square" theme chosen by Red Bull. I wanted the level to be simple enough to understand that it would promote internalizing the mechanics of the game mode while also offering enough choice to keep gameplay interesting. By raising one capture point in a line between the other two I was able to create a viable symmetrical layout that players only need to learn half of to fully understand. Timeline 2 Days Initial layout and graybox 2 Days Level Mechanics 1.5 Weeks Playtests & revisions 3 Weeks Environment art Navigation Planning an Introduction Balancing a Linear Layout The Center Point Sniper Nests Planning an Introduction //Map Case Study | 1 of 4 In a three control point game mode maps with at least three major regions that were equidistant from each other performed best. This constraint of the game type made the concept of easy-to-grasp symmetrical layouts attractive. However, while symmetry can naturally tend toward competitively viable and memorable pathing, it could also become mundane if not used uniquely across all eight maps. On City Palace I addressed this potential repetitiveness by emphasizing the verticality of the map, placing one of the control points at a higher elevation than the others. Although the resulting layout is still symmetrical and easy to grasp, the three height levels that enable traversal between the upper and lower control points introduce variation that keeps the gameplay interesting and unique. Balancing a Linear Layout //Map Case Study | 2 of 4 With all three control points in a line and the center point elevated the map concept started long and narrow. This presented several challenges as I would need to curtail overly powerful long-distance lines of sight, balance the strength of vantage points from several heights, and make sure to do these things in a way that stuck to the open feel of arena-style gameplay. To contend with these challenges I introduced medium-height choke points on either side of a more open area in the lower center of the map that split up lines of sight without artificial feeling hallways or tight bends. I also added several paths to reach the upper level of the map from different directions which put a check on the position's powerful sightlines by offering players a way to counter. The Center Point //Map Case Study | 3 of 4 Despite its elevation above the playfield the platform in the center of the map is wide enough that only a portion of the level is visible from it at any given time. This upper level is easily reachable via symmetrical elevator platforms and opposing entrances with several approaches while also constantly visible from the outer sniper nests at the middle height level. The area was designed to provide a mixture of combat styles. The tighter quarters approach through the stairwell gives short-range combat a spot to shine while the raised vantage points at the sides of the platform enable long-distance engagement opportunities. The combination was intended to make the center control point of the map exciting to capture and satisfying to hold. Sniper Nests //Map Case Study | 4 of 4 While their view to the center platform and narrow line of sight through the choke points in the center of the map make the sniper nests very powerful, they are also only reachable via exposed paths and cost time to reach. Players who make the journey are rewarded with mid-tier long-range weapon pickups that give them the chance to take advantage of their position without overpowering them. The sniper nests can also be countered by the two sets of player-controllable moving walls located in the lower center of the map that rise to block sight lines through the choke points for a short time before automatically retracting. Removing these lines of sight leaves the player in a sniper nest simultaneously less effective and further from a position to help their teammate. Max built this website by hand. That's pretty neat, right? Copyright © 2018-2024 Maxwell Giddens Share Copy * Thanks for checking 2 * I couldn't help but be supercharged as I read your posting for "Level Designer" on Apex Legends. As a longtime fan of Respawn titles (especially the titanfall series) and a level designer with 8+ years' experience in creating competitive multiplayer shooter arenas, the position seems like an almost uncanny fit. I have shipped a level to millions of players of a AAA competitive FPS, delivered several projects for large corporate clients, and built competitive levels complete with art in a sci-fi aesthetic and scripted game modes. I also have an extensive background working in Source Engine, the base engine for Apex Legends, graphic and web design, and scripting in squirrel and javascript. With so much of my experience directly mapping to strengths for this position I believe that I can be an asset to Respawn Entertainment. Thank you for checking out my portfolio. I appreciate your time and consideration. * I couldn't help but be energized as I read your posting for "Associate World Designer". As I’m currently working to pivot from eight years doing both graphic design and contracting to create competitive multiplayer shooter arenas into a career in the game industry, the position seems like an almost uncanny fit. I have shipped a level to millions of players of a AAA competitive FPS, delivered several projects for large corporate clients, and built competitive levels complete with art in a sci-fi aesthetic and scripted game modes. I have built up this experience while also working a full time job as a designer where I honed my skills in graphic and web design, and scripting in javascript. With so much of my experience directly mapping to strengths for this position I believe that I can be an asset to Bungie and I’m excited to take the next step forward. Thank you for checking out my portfolio. I appreciate your time and consideration. * I couldn't help but be energized as I read your posting for Level Artist. As a longtime fan of Gearbox titles (especially the Borderlands series) and a level designer with 8+ years' experience in creating competitive multiplayer shooter arenas, the position seems like an almost uncanny fit. I have shipped a level to millions of players of a AAA competitive FPS, delivered several projects for large corporate clients, and built competitive levels complete with environment art in a mix of sci-fi and realistic aesthetic styles. I also have a background working in graphic and web design, and game I/O and scripting including writing a full competitive game mode. With so much of my experience directly mapping to strengths for this position I believe that I can be an asset to Gearbox Entertainment and I’m excited to take the next step forward. Thank you for checking out my portfolio. I appreciate your time and consideration.