General Information

Operation Lumberjack was a personal project I took on to shine a light on my blockout design skills. I realised my portfolio covered a lot of ground, but didn’t really show what I could do when it came to laying out levels from scratch. So I set myself a challenge: build a multiplayer mission inspired by games like Ghost Recon: Wildlands. I wanted it to feel tactical and flexible, with multiple ways for players to approach the objective. I also made sure to include proper cover metrics to keep the gameplay grounded and engaging. It was a great way to push myself and fill a gap in my portfolio with something I genuinely enjoyed creating. This project was created using Unreal Engine 5.

The game is built on 3 core pillars:

  • Variations of play, having more than one way for players to tackle the mission.

  • Realistic theming, I wanted to ensure that the level itself was something that could be taken from the real world. Matching the theme of the inspired games.

  • Constraints, making sure that the project included the restrictions set by myself with the cover metrics.

As the level designer, my responsibilities included:

  • Level planning/Research

  • Establishing metrics

  • Blockout

  • Playtesting and iterating

  • Encouraging player experimentation (By having multiple ways of progressing through the level.)

Conception & Research

The idea for this project came from a simple realisation: my portfolio didn’t really showcase my blockout skills as a central focus. I wanted to change that, and this felt like the perfect opportunity. I decided to create a multiplayer mission, drawing inspiration from games like Ghost Recon: Wildlands. What I love about those kinds of games is how they offer players multiple ways to approach each mission. Whether it was solo or with friends, stealthy or loud, there’s always variety and freedom in how you play.

Before diving into the design, I spent time playing and studying these games to really understand how their missions unfold. That hands-on research helped me get a feel for the pacing, player choices, and level layouts that make them so engaging.

Once I had a solid grasp of the gameplay style, I moved on to choosing a setting. A lumber yard felt like a strong fit, hence the name Operation Lumberjack. From there, I started gathering reference material, looking into different types of lumberyard environments and supporting structures to build out a believable and functional space. All of that went into my PureRef board to guide the blockout process

Paper Design

During the level planning and paper design phase, I focused on sticking to the constraints I’d set for myself, while still aiming to create something genuinely engaging. These constraints weren’t just about cover metrics; they also shaped how I approached the level’s layout and gameplay. I knew from the start that the mission needed to support multiple paths to completion, giving players the freedom to choose how they wanted to play.

Replayability was a big priority, and I built it in through several key features. First, players can tackle the mission in a variety of ways, with multiple entry points and approaches depending on their style. To keep things unpredictable, the hostage doesn’t spawn in the same spot every time, there are three possible locations. This encourages players to scout the area or gather intel before diving in. That said, the mission doesn’t punish players for being spotted; it’s designed to be flexible and forgiving, letting them adapt on the fly.

There are also different ways to complete the mission. Players can sneak in, free the hostage, and slip away quietly. Or they can clear out all enemies in the area, making it safe before extraction. Both options are valid, and both offer different kinds of satisfaction.

Another layer of replayability comes from the dynamic day-night cycle, which changes how the mission plays out and what risks or rewards are available:

  • Daytime: This is the riskier option. A train arrives carrying weapons—but it also brings more enemies patrolling the central area. Players who take on the mission during the day face tougher opposition, but they can also loot the train for extra gear, making the risk worthwhile.

  • Nighttime: At night, stealth becomes more viable. The train doesn’t arrive, so there are fewer enemies, making it easier to move through the level undetected. However, the rewards are scaled back—no train means no bonus weapons.

In short, daytime offers a high-risk, high-reward experience, while nighttime leans into stealth and lower stakes. It’s all about giving players meaningful choices and reasons to come back for another run.

Iteration

When it came time to block out the level, I chose to focus on the daytime cycle. This version offered more gameplay elements to showcase, especially with the train present, adding complexity and opportunities for player interaction.

The final iteration changed significantly from the original paper design. Early on, I noticed that the central area of the level felt disconnected. To address this, I added a bridge linking the two main buildings. This not only made the space feel more alive and believable, but also opened up new traversal options for players, enhancing flow and tactical variety.

The screenshots below show the final version of the level, reflecting these changes and the overall direction of the project.

Cover Metrics

When setting up the cover metrics, I used colour coding to clearly differentiate between cover heights. This made it easy to identify which cover was which at a glance, especially useful if I were working as part of a team, where visual clarity helps streamline communication and feedback.

Cover Metrics Breakdown:

  • Pink – Low (1m–1.2m): Designed for crouched cover. The player character can shoot around or over the cover while crouching.

  • Yellow – Blocked Low (1.5m–2m): Also crouched cover, but with limited visibility. Players can shoot around the sides or blind fire over the top.

  • Orange – High (2m+): Standing cover only. The player character can shoot around the sides but not over the top.

Conclusion

I genuinely enjoyed creating this project, it gave me the space to really show what I can do, especially when it comes to blockout design. It wasn’t just about ticking boxes or following a brief; it was about pushing myself to build something that felt purposeful, flexible, and fun to play. What made it even more rewarding was the fact that I drew inspiration from games I hadn’t played before. That unfamiliarity meant I had to start from scratch, playing, observing, and learning as I went. It was a challenge, but one I embraced fully.

Stepping outside my comfort zone like that was a big part of the experience. I wasn’t relying on muscle memory or familiar design patterns, I was actively studying new gameplay styles, breaking down mission structures, and figuring out what made them tick. That process taught me a lot, not just about level design, but about how I learn and adapt when faced with something new.

I’m proud of how the final level turned out. It reflects my ability to think critically, iterate thoughtfully, and stay open to change. More than anything, I think it shows that I’m not afraid to take on a challenge, even when it means learning something from the ground up. This project wasn’t just a showcase of my skills, it was a reminder of why I love designing in the first place