GAME PRODUCER
As a game producer, my go-to power tools were Notion and Discord — the backbone of our team’s communication and organization.
(Curious to see my Notion setup? Click here, and I’ll gladly share access!)
We leveraged Agile techniques to keep our workflows sharp and our production cycles efficient.
For production docs and pitch decks, I counted on Microsoft 365, but when it came to making presentations pop, Canva was my secret weapon for adding that extra visual punch.
On Discord, I structured our space by creating one dedicated channel per production discipline, plus extra spaces for Marketing and Playtesting.
Each member or discipline had their own “desk” — with one golden rule: if you’re working on the game, you’re in your desk channel. This made the entire team more accessible and kept cross-discipline collaboration flowing smoothly.
LEVEL DESIGN
As a level designer, we started with the classic pen and paper — bringing ideas to life in their rawest form. We then translated our layouts into Miro, making them visually clearer and more accessible for the rest of the team.
Inside our Notion workspace, we dedicated a Level Design section to document every idea, every iteration, and the evolution of each layout.
But the real magic? Testing. We blocked out tons of layouts to playtest and refine. Once we got the green light from the Game Director, we moved on to blocking the levels directly in Unreal Engine.
SOUND DESIGN
As a sound designer, my goal was to create not just good audio, but an immersive experience.
I began with a detailed sound asset list in Notion to organize all needed elements. Using tools like Soundly, Krotos Studio, and Splice, I sourced and crafted sounds that matched the game’s atmosphere.
(Click here for a view of a sound asset list)
For the core mechanic — magnetism — I designed a special “dong” sound split into two frequencies, creating a sense of unity when both players used it together.
`On the music side, I composed looping tracks that evolved with gameplay. Moving into a new room added an extra layer, and the mix changed dynamically to reflect the environment, using MetaSound in Unreal.
In Unreal, I didn’t just place sounds; I carefully adjusted timing, delays, and triggers to ensure every sound landed just right.
To shape robot expressions, I used Reaper to pitch sounds and tweak EQ, adding personality and emotional depth.
Because in the end, great sound isn’t just heard — it’s felt.
UI
I helped with the game’s UI using Photoshop and Illustrator. For example, I created the dialogue boxes used in the tooltips.
The game’s logo was originally made by the game designer, but I reworked it: I adjusted the structure, modified some elements, changed the colors, and cleaned up the outline (détourage).
MARKETING
I was responsible for the marketing of our game. I managed the different social media accounts and created promotional materials using Canva.
I collaborated with our team’s animator on the trailer with Premiere Pro and Reaper, focusing mainly on sound design and providing editing direction. I also prepared various gameplay shots and logos for use in the trailer.
For our booth, we designed roll-ups, banners, and a selfie booth — all aligned with our color theme (red and blue) and filled with elements related to magnetism, including real magnets. I also designed our team T-shirts and created goodies such as stickers and magnets.
