Personal Game Projects

I have developed two solo projects—Penguin P’s Plan and Casper’s Adventure—focused on core gameplay loops, encounter pacing, and rapid prototyping. During my undergraduate studies, I spent my spare time self-learning Unreal Engine (UE4/UE5) and later Unity, building playable demos to validate ideas quickly and refine combat feel and user experience.

The COVID-19 lockdown in Hubei forced me to suspend my studies and stay with my family. Faced with isolation and uncertainty, I decided to use the break to test whether my interest in interaction was strong enough to sustain real work. I began systematically self-studying game design and Unreal Engine and created a personal demo, Casper’s Adventure. Over a long period, I used Blueprints to implement a fully controllable character, design and bind skills with animations and visual effects using existing assets, set up enemy units and their behaviors, build basic AI encounters, create in-game widgets for UI, and construct 3D maps and levels. This project was my first complete pass through the pipeline of making something playable by myself. It gave me a practical foundation in Unreal and the confidence that I could stand on my own as a designer who understands both interaction and implementation.

After graduation, I completed a Tunic-style level-design assignment during interviews and was hired as a level designer at AcmeGamestudio. That assignment—covering full-map flow, trap and enemy placement, and a live design presentation—was produced independently and is included in my portfolio as a personal project.

Level Design Test Response For Applying Level Designer role in AcmeGamestudio

Date 2023. November

Level Design Inspiration and Reference Explanation

The level test requires me to desgin an extra level process, based on the indie game TUNIC. The level design draws inspiration from the story of Beowulf—specifically from the motif of “the dragon slayer who eventually becomes the dragon.” However, the actual narrative of this level diverges significantly from the original Beowulf tale; the reference serves mainly as a thematic framework rather than a direct adaptation.

In terms of gameplay and aesthetics, the environmental puzzles and interactive mechanisms are primarily inspired by TUNIC and Monument Valley, while the combat and boss encounter mechanics take cues from Souls-like games.

The mid-level event centers on fragments of Melissa’s soul, through which players uncover her memories and the hidden connection between Melissa and the lost city.

Level Overview

Level Test Q&A

Q: While meeting the main requirements of the level, what additional elements did you include to enrich the gameplay experience?

A: I adopted an interwoven narrative structure and fragmented information guidance to encourage players to interpret scattered clues on their own. This allows them to better understand the world and engage more effectively in combat.

I also introduced new combat mechanics — for instance, dodging aerial dive attacks by climbing onto rooftops, or ringing a bell with the crossbow to initiate combat sequences.

During the boss fight, players can use items to counter specific spells, such as freezing the boss mid-cast or exploiting elemental weaknesses.

By letting players find these breakthrough moments themselves, I aimed to create a sense of freshness and excitement through small but impactful interactions.

Gameplay & Design Approach

This level follows the core gameplay and mechanics of TUNIC, and is set at roughly 50% progression into the original game.
For the regular combat encounters, I used existing enemy types from the base game, as they already provide sufficient variety and pacing for this stage.

However, I made some adjustments to the boss battle to introduce new layers of strategy and player expression.

The boss — Melissa, possessed by an evil spirit — can summon high-pressure water pillars that strike the player based on charge duration.

While being pressured by these attacks, the player can use a freezing bomb to immobilize the boss and create openings for counterattacks.

Additionally, the torches in the arena can be used interactively: the boss may launch fire projectiles from them, but the player can also shoot fire-infused arrows through those torches to strike the exposed spirit form for extra damage.
This gives players the freedom to think creatively and use the environment to their advantage.

The symbiotic relationship between Melissa and the spirit also tests the player’s patience and observation — finding the right balance between attacking and protecting Melissa determines whether the player achieves the good or tragic ending.

Design Intention

My design process always begins from the player’s perspective.I analyzed feedback from major communities like Gcore to understand what aspects players value most — particularly regarding combat camera control and battle rhythm.

Since TUNIC already handles camera mechanics well (especially with Shift-based target locking and angle switching), my focus was on enhancing interactive combat details and player-driven engagement.

By integrating micro-interactions and subtle guidance into environmental puzzles, I aimed to see how players respond to fragmented narrative cues combined with tight logical progression.

From starting outside the city, to finding a way in, locating and activating the engine, and finally facing the possessed boss, the entire flow was carefully structured to provide a sense of progression, discovery, and self-driven reasoning.
This design represents my effort to merge mechanical clarity with emotional storytelling, creating a balanced and rewarding player experience.