Emma HAETTEL GD

" Welcome aboard, passengers ! "

I, Emma HAETTEL, am this train's System Designer!

Here is Not Trained For This!

An Adventure Investigation game made in 4 weeks (2024) on Unreal with 10 peoples!

It is the gameplay of Sherlock Holmes C&P and the swap feature of The Orient Express Crime in the AD of The Grand Budapest Hotel (Adam Stockhausen).

DOCUMENTS ACCESS

WHY?

It's a way for me to show you that I treat each of my projects according to their needs. There won't always be the same documents, even if I use the same speciality on different projects.

My way of working adapts to the needs of the moment, to the peoples I'm working with and to the way I need to present my ideas.

That's why on this project, there are very few documents, and what's more, they're simplified as much as possible.

DOCUMENTS TO TAKE A LOOK AT

PREVIEW

REALISED TASKS

POCKET WATCH PUZZLE

From a powerpoint concept to a 3D gravity based puzzle.

LOBSTER PICK PUZZLE

A goofy way to open a drawer and help a traveller.

ORGANISE THE SYSTEM & NARRA

From a solo idea to a End-Year Project.

THE POCKET WATCH PUZZLE

CONSTRAINTS & OBJECTIVES

In 4 weeks, we didn't have the time to show many puzzles, so it was decided that the project would have an hero prop. We also have to use our character specific ability on one puzzle each.

The objective of the hero prop, was to make the player manipulate the object and solve its problem. It uses a lobster pick and the gravity.

PRODUCTION STEPS

First of all, there was the search of what kind of pocket watch we wanted. So, I browse through pocket watches websites for their particular features.

Then, I searched for pocket watch movements blueprint and take several references.

Lastly, I made several PowerPoint prototypes and iterated in relation to the project need and external feedbacks.

THE POCKET WATCH PUZZLE

TOOLS

I gather my ideas on the Windows NotePad and my notebook (with draws to see where they could go). I then prototype every steps on Powerpoint and made multiple versions.

WHY I DID TAKE THIS PATH?

We wanted a realist puzzle and as I didn't wanted to get involved in something we didn't want, we did a reunion 2 to 3 times a week to validate every steps. It's also easier for me to explain my ideas when I have a graphic support.

REFERENCES

I looked at objects puzzle in specific phone games such as: Boxes: Lost Fragments (in wich you solve puzzle on every sides of the object) ; the Haiku Games (for their puzzle/enigmas diversity). I also looked at youtube videos about pocket watches movements (the pocket watch engine).

THE LOBSTER PICK PUZZLE

CONSTRAINTS & OBJECTIVES

In a second stage, we wanted another puzzle who dealt more with our environment so as not to neglect it and our second character specific ability.

The objective of this puzzle was to allow the player a break in the pocket watch puzzle and allow the narrative to add other elements to the investigation and the lore.

PRODUCTION STEPS

First of all, there was the search of what kind of action we wanted the second character to do in relation to his profession and character and what could be done in a train as a train crew member.

Then, I had a lot of meetings with the other Game Designers and I talked about numerous ideas and their potential.

Lastly, I made several PowerPoint prototypes and iterated in relation to the project need and external feedbacks.

THE LOBSTER PICK PUZZLE

TOOLS

I gather my ideas on the Windows NotePad and my notebook (with draws to see where they could go). I then prototype every steps on Powerpoint and made multiple versions.

WHY I DID TAKE THIS PATH?

REFERENCES

I looked at objects puzzle in phone games such as: the Haiku Games (for their puzzle diversity and their way to move from one action to another) and films with barmans / crew members. I also thought about what kind of actions I could do, if I was a train crew member in a luxury train of high quality object that aren't simple of use.

ORGANIZE THE SYSTEM & NARRA

CONSTRAINTS & OBJECTIVES

Lastly, it was as important as the two other tasks that I did but because it was a teamwork task, I decided to put it at the bottom of this record.

The objective of this task was to coordinate between poles, a Solo Proposition, into a functionnal and professionnal End Year Project, transforming into a End of Study Project.

PRODUCTION STEPS

First of all, I attended meetings to discover, talk about the project and propose stories / puzzle ideas in which all the team can be hyped and, later, could become power of proposition themselves.

Then, I had meetings with the Level & Narrative Designer about the coordination between puzzles, the story / investigation and the level shaping.

Lastly, I made puzzles, presented them and modified / deleted them to adapt to the project intentions.

ORGANIZE THE SYSTEM & NARRA

TOOLS

I gather my ideas on the Windows NotePad and my notebook (with draws to see where they could go). For the biggest part, it was a lot of speaking and meetings.

WHY I DID TAKE THIS PATH?

It was because of the must to keep up to date. We needed strong guidelines but with enough liberty of creativity. The high numbers of meetings also showed our a lack of projection and a same project view. With my solo time, I was able to find new ideas, gather and concept them, to came back with new propositions and new ways to explore.

REFERENCES (TOP, LEFT, AND BELOW!)

For the biggest part I followed the management of our producer. But I also learned via our multiples workshops / class & solo projects of the past 4 years, to speak when needed, ask questions and become a power of proposition.