We The People
Tools
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Unreal Engine 5
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PureRef
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Blueprints
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Blockout Tools Plugin
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Tether
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Ultra Dynamic Sky
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Audacity
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DaVinci Resolve
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Perforce
My Role:
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Level Designer
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Level Artist
Goal
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Design immersive, visually striking environments by carefully placing assets, crafting terrain, and leveraging lighting to create engaging, well-balanced levels.
Overview
We The People is a first-person tactical shooter set in an apocalyptic America. As both a level designer and level artist, I was responsible for blocking out and detailing environments that closely mirrored real-world locations using satellite imagery, while also taking creative liberties to support compelling environmental storytelling appropriate for a zombie apocalypse.
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During my time with SIC, I contributed to two incredibly large open-world maps, each featuring dozens of unique points of interest. My work also encompassed lighting, a critical element in establishing the intended mood and guiding players through our environments. Leveraging my blueprint scripting skills, I developed modular level-art tools that streamlined asset placement and accelerated our workflow. Additionally, I served as a mentor to fellow level designers and artists, providing targeted feedback, assigning tasks, and helping the team stay on track to meet project deadlines.
We The People
FPS Tactical Shooter
Every map in We The People was designed to be large, dense, and true to scale, blending the tactical intensity of Escape From Tarkov with the open-world survival elements of Days Gone.
I contributed to two major maps: Settlement, a hub where players can purchase, customize, and test equipment or socialize with others; and Port, the game’s first expansive open-world environment. Port features a diverse mix of detailed large and small structures, inviting players to explore, loot, fight, and survive against relentless zombie threats.
Settlement HQ: Interior
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Settlement HQ serves as We The People’s hub world. Players can explore this dense interior space to buy and modify equipment, interact with others, and uncover rich environmental storytelling woven throughout the area.
I contributed to the main structure by refining both the interior and exterior geometry to ensure logical flow and cohesion. I also added skylights, ceiling fixtures, structural supports, pipes, and handled texture painting. Additionally, I was responsible for most of the lighting, helping to establish the mood and highlight key spaces.
Settlement: Commons Area
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Commons is where the NPCs unwind, share meals, and enjoy whatever entertainment they can find. Like Settlement HQ, this space is rich with environmental storytelling activities. It also features the bazaar, another place where players can get equipment.
I helped establish the foundation and flow of the space, which is modeled after the Vancouver Innovation Center's modern design aesthetic. I carefully selected assets and lighting to evoke a calm atmosphere that contrasts sharply with the outside world.
Settlement: Recreation Area
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The Recreation Area is located directly behind Settlement HQ and is nestled in the center of the compound. NPC's can also be found here, where they can get a bit of fresh air within the guarded compound. Players can find an impromptu clinic stationed here, where the staff can help treat the less serious maladies the residents or players may face.
Port: Hangar 1
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The Port serves as a major point of commerce and is thus well guarded. I used the merge actor tool to create many cheap instances of props that ended up being used throughout the world to quickly add background assets.
Port: Water Treatment Plant
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The Water Plant is a minor POI in Port that, as of this writing, is not planned to be included as a playable area when We The People goes into early access.
I made this place using satellite imagery and research. The interiors are largely empty, but the Water Plant already shows promise as an interesting hot spot where players and AI can meet, fight, and loot.
Port: Building A
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Building A sits near the center of Port’s playable area, with its long, narrow layout offering a safer traversal option than more exposed routes. It was one of the first structures I tackled for Port. After adding a “trash pass” to reinforce the sense of abandonment, I focused on lighting to dial up the horror. I drew inspiration from Resident Evil 7, where interior illumination plays a crucial role in establishing mood and tension.
Port: Trash Island
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Trash Island, as our team likes to call it, sits within the heavily fortified Bandit base. It’s where the Bandits dump, salvage, and incinerate everything — from trash to unfortunate people and zombies.
This area can be a goldmine of loot for players skilled (and daring) enough to infiltrate the camp. I handled much of the trash placement seen here, along with the lighting. The center of the pile is even planned to be set ablaze, heightening the sense of danger and chaos.
Port: Minor Bandit Base
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This minor base sits on the outskirts of Port, centered along the train tracks. Players who aren’t ready to take on the main Bandit camp can tackle this smaller alternative instead, uncovering bits of lore — and some loot — along the way.
After completing a trash pass, I focused on the lighting, dialing up atmospheric fog to match the dense conditions typical of Tacoma, Washington. By carefully adjusting Port’s overall lighting to interact with the fog, this area became one of the standout results of that effort.