April 2023

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This is a UE4 demo as a pitch to USC's AGP program (similar to capstone projects). Players play as Huli, a fox spirit known for their charm in Chinese mythology. The combat system incorporates a gauge similar to Sekiro's posture. When an enemy's charm gauge fills up, they are temporarily turned into allies that can aid players in combat. When an enemy's physical health reaches 0, players can shoot at different body parts of the enemy to extract souls of specific effects that can apply boost to their arrows (charm, healing, bonus damage). Players have a melee combo that deals physical damage and a ranged weapon to deal charm damage. I also created a companion that helps players in combat. I thought this system could blur the definition of enemy which can lead to some interesting interactions with the different arrow types.

March 2022

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A UE4 demo as an attempt to create a complete combat experience along with a cool necromancy ability. I added elements like camera shake, attack trails, blood particles, SFX, slow motion, and hitstops to enhance the impacts of attacks and the overall combat feel.

March 2022

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I created this level design demo with a time travel mechanic. Traveling to the past changes the layout of obstacles and the environment. In this demo, I used a color contrast to indicate objectives.

August 2020

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I set-dressed the environments and created this cinematic in Unreal Engine 4 which is a single long shot showcasing three different realities twisted together.

September 2022

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This is a UE4 demo to showcase the hit effects that physical animation can create. This could be a very useful tool for smaller teams where hit animations in all directions and on multiple body parts is not an option.

May 2022

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This is a Unity demo I created based on a question I had: What if input reading is a punishment for players' actions rather than a mechanic or a special attack move? I wanted to play around with the idea of an enemy capable of dodging bullets but only when the player has been aiming at him for too long. I thought this approach can make the enemy more agile and realistic while avoiding being totally random.

October 2020

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A forest environment I set-dressed in Unreal Engine 4 where I learned and played around with the different art assets, fogs, lighting, particle effects, sound designs, as well as combining elements of nature with contemporary structures to tell a story.