Georgi Simov

Level Design Portfolio

SHOWREEL

 
 

PROJECTS

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Training Grounds - Killing Floor 2

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2 Months

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3 Devs

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First Person

Placed 5th in the game's official mapping contest

Responsible for: Level layout; Collision pass; AI spawn & navigation; Set dressing & Lighting

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Community

The official wiki of the UDK was quite minimal so I had to become an active member of the modding community. It was great to talk to so many nice, helpful and creative people. The player feedback I got through the steam page was very useful in helping me spot some of the flaws.

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Scope

My initial sketches and ideas were of a much bigger level. As the deadline was approaching I realized that some areas will need to be cut if we wanted to have a polished level.

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Metrics

At the start I looked at all other levels and measured the average map size, corridor width, floor height, etc. Once I had that reference I learned the modular set's rules so I could properly build the level.

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LIEbrary

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7 Days

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5 Devs

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First Person

Epic MegaJam Finalist

Responsible for: Level layout; Set dressing; Balancing

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Scope

Having only one week to make a game felt quite limiting. This short deadline taught me efficiency and gave me a better overview of what are the core elements needed to get a project up and running.

Reference

This was the first project where I implemented the rule of gathering at least 50 photo references. This helped me think of gameplay moments while also considering the aesthetic appeal of the space. 

Iteration

At one point we wanted to have procedural room generation. A quick prototype showed that it didn't fit the game. Since some core mechanics weren't implemented till day 3 I had to experiment with some layouts before we had gameplay.

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Lumberjacked

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8 Weeks

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24 Devs

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Top Down

Student project from Year 2

Responsible for: Macro blockout; Micro blockouts; Set dressing; Planning

Collaboration

Working on the same map with another level designer and environment artists didn't pose just a technical challenge but also a communicational one. At the end it resulted in a level that felt well paced and had a clear purpose. 

Planning

I also had the role of a scrum master. I was responsible for helping set the week's goals, communicating with other feature teams and making sure everyone in my team had enough tasks without being over-burdened. Keeping track of burndown charts and diving into the production aspect of development was a great learning experience. 

Playtesting

As soon as I had a playable moment/zone I would playtest it. Once we started making the first level I made sure everything is documented to make communication with the other level designer smoother. 

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P.A.I.N.T.

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1 Year

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27 Devs

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Third Person

Work in progress

Responsible for: Prototyping level mechanics, creating a zone, helping with blueprint tasks.

Research

Before starting with level design, I did research on the architectural styles that Art chose. I had over 200 reference pictures. In pre-production I did research by experimenting with level layouts and gameplay mechanics.

Blueprints

I have experimented with procedural generation, level mechanics and game objectives with networking. 

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Iteration

I always acted on every detail of the feedback I received. From room corners that hurt player flow to shapes that didn't fit the architectural style well enough. 

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Invoke

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3 Months

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3 Devs

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Side View

So far two publishers have approached the project manager.

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Responsible for: Macro blockout; Micro blockouts; Set dressing; Planning

Remote

This was my first encounter with remote work. Once the project manager found other developers it was up to me to update them on the project and explain what the vision is.

Scripting

For the majority of the time I was a solo developer. Later on I was joined by a programmer and a UI designer. By the end of the project I had written more than 1 000 lines of C# code.

CV

 
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About Me

I've always been fascinated by people who were able to turn their hobby into a job. My father is a film cinematographer and from a very early age I was surrounded by artists of all sorts. I was lucky enough to have this type of environment and get an honest and unfiltered view of what it takes to be a creator. This lifestyle led to me analyzing the entertainment I consumed with care and mindfulness. Naturally I started looking at games from a different angle. I will always fondly remember the games that had unlockable behind the scenes videos that gave me insight of how challenging and yet rewarding this industry can be.

I picked to specialize in level design since behavioral psychology piqued my interest for a long time. In high-school I started to read and watch videos talking about the various techniques that level designers utilize in their work. The fact that it takes technical, artistic and design knowledge to make a level makes this role very engaging for me. 

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