Headquarters

The Making of my custom Valorant Map

Headquarters is a custom map I created using Unreal Engine 4. The purpose of this map was to gain further experience with Unreal and gain experience designing and creating a greybox prototype for 5v5 tactical shooters. I want to achieve this by simulating as closely as possible the work process a Riot Games' level design employee would do when creating a map for Valorant.

Riot Games' Valorant Design Philosophy

When Riot Games creates new maps in Valorant, their map design philosophy is something I find very exciting, as every map strives to push gameplay in fresh directions by creating unique scenarios with new map layouts. This is why when making the initial drafts for my map, my very first steps were to create a “hook” that differentiates it from others currently in the game.

The Design Question

“What if the entire map was broken up into vertical segments?”



Unique Opportunities

After experimenting with a bunch of ways to create a map broken up by verticality, I ultimately decided to have different portions of the map be at different altitudes as shown in my concept art above. While maps like "Icebox" add verticality to the game by creating objective sites with multiple layers, their overall map layouts are flat. Having a map layout divided by its verticality creates two vastly different playstyles for players to approach each bomb site. When approaching the “A” bomb site, due to the site being at the lowest point of the map, players will have the advantage of scouting out the site before attacking. This will allow attackers to easily flush out spots where enemies can hide but will make them more vulnerable when moving onto the site. In contrast to this, the “B” bombsite, which is at the highest part of the map, will have inclined slopes that lead to the detonation area. Players can use the slopes as cover to only make their heads viewable. This will also naturally create a plant site where the players will have more coverage while on the site itself.

Paper Sketches

Once the concept art was created, I had a loose idea of the map’s story and design. I then drew tons of paper sketches to experiment with the layout of the map. Creating a map centered around its verticality was difficult to do on paper but I felt as though working with paper allowed me to have a lot more freedom with my initial ideas and would make it fast to modify any changes. I started by experimenting with general layouts, then once the map started to take shape, I then sketched tons of variations for each objective site by adding unique layouts to create specific fun and interesting gameplay experiences.

Greyboxing

From there I moved on to creating a 3-D environment in Unreal with simple geometry to make my initial greybox. When working on the greybox, I was constantly tweaking small aspects of the level as some things on paper did not translate as well as I hoped when in the 3-D space. One major change I adjusted was the spawn walls on the map as they gave too much map control to attackers originally. Overall the initial greybox layout turned very different than my original sketches as I was also constantly adjusting the slope on the floors to achieve vertical gameplay opportunities I wanted this map to have. Ideally, after creating a greybox I’m satisfied with I’d start playtesting in-game, unfortunately, this led to my biggest obstacle.

My Biggest Obstacle

When doing any form of level design the most important aspect is playtesting. Playtesting allows me to see if my ideas are being executed properly, balanced as well as if they are fun in general. However, without having a way to playtest my map within Valorant, the amount of feedback I could get was very limited. Because of this, I knew I had to make adjustments and revise my map in unique ways. To achieve this I created an in-game player that controlled with physics as similar to Valorant as I could get. From there I could use this in-game player to theorize the potential ways players could use weapons and abilities. Throughout this whole revision process, I would go back and forth throughout every agent’s abilities and guns to constantly tune my map. As a result of this process, there are a total of 5 distinct iterations of my map. In earlier versions of the Headquarters greybox, the map had much more elevation and had much fewer spots to take cover when on the objective site. Additionally, controllers that used walls (mainly Viper) were much more heavily favored than other controller agents. As this article continues I show in further detail how I imagine every gun and agent could possibly play on Headquarters.

Expanding the Greybox

After settling with a map I felt was both balanced and created unique gameplay engagements, I then gave the greybox slightly more detail by adding some textures and giving the map a few basic props such as the Radianite crates. While I am aware most of this would be outside the job of the level designers, giving the map slightly more detail was a good way to show the map’s theme and story I created.

Headquarter’s Theming

Throughout the creation of this map, one thing I always kept in mind was its theme. While I overall valued the design of the map first, the map’s theme was always being considered throughout the iterative process. This Map takes place in the Kingdom’s secret island, specifically headquarters/training grounds, a location seen in both Valorant’s episode 4 cinematic and Neon’s launch trailers. I chose this location to make the Valorant universe feel more alive by having a semi-familiar environment that adds lore to both the overall story and agents in the game. Another reason I felt this could be a perfect fit for the map was due to the vertical layers the Training Grounds had in “warm up” trailer, further making it a perfect fit. In the image below you can hover over all the callouts to see reference and concept images to see further into the map’s theming and why things are called what they are.

Hover over the Callouts!

A Site B Site A Hut A Window A Shot Range A Entrance A Security A Lobby A Atk Rafters A Def Rafters Mid Ramp Mid Connector Mid Courtyard Mid Grafitti Mid Lockers Mid Lounge B Front Hall B Back Hall B Screens B Tube B Storage B Kitchen B Tower B

Taking every type of gun into account

As mentioned before one of the biggest aspects I took into account when revising my map was the viability of the six types of guns. Each type of gun (sidearms, SMGs, shotguns, rifles, sniper rifles, and machine guns) all have a time and place where they can shine. In the “Mid Courtyard”, there are longer ranged angles so having a longer-range weapon will work more effectively. On the objective sites, there will also be long-ranged angles, but with correct smoke placements, teams can block off long-range angles to make better use of their mid to short-range weapons.

Taking into Account Every Agent

When designing the map, I constantly worried that certain map elements might significantly favor specific agents. In theory, this could force teams to play with that agent or be at a disadvantage. To keep the map balanced, I constantly kept every agent and their unique abilities in mind when designing its layout. Below, you can hover over any agent currently in the game to see how they might play and use their abilities on the current iteration of Headquarters.

Select your agent!



The A Bombsite

As mentioned prior, what separates the “A” objective site from other maps in Valorant is the use of elevation to easily flush out defenders from certain spots on the map. Because of that, I had to adjust the site to have more places the defending team can hide on. When executing the “A” bombsite with the use of many different agent abilities, the attacking team can reach the attack side rafters. This gives them elevation which will be very advantageous because it allows teams to flush out certain spots on the map where the defenders may be hiding. The defending team will also have a clear long line of sight for anyone entering the planting zone from the main arch entrance and defense side rafters. Because of this, attackers can either use their smokes to block the two entrance points for the defenders, or they can use a singular smoke to be able to hop quickly onto the planting zone for the A site.

The B Bombsite

In contrast, the B bombsite is vastly different in terms of its layout. When executing the “B” bombsite the attacking team has the ability to enter the main entrance from both the left and right sides. This should make the initial peek from attackers safer as they can swing the entrance together. The main entrance for the B objective site is very exposed and will be very difficult to take without entering from the middle courtyard. However, there are multiple ways to execute the objective site with a variety of different smoke placements teams can utilize. The most common way will be using a wall or two smokes to block off the line of sight for defenders who are near the middle side of the map. This will allow teams to cut the site in half, making the attackers less exposed when entering. One unique trait for this objective site is two different “U” shaped cubbies both teams can use when they need to defend the site. While these cubbies can be a great place to use short-range weapons, players can easily be flushed out with the right utility as there is not much space to escape from. If the attacking team can gain control of the middle courtyard, this will allow them another entrance onto the B bombsite, where they will be able to flush out the defending team from certain positions that are towards the back of the site. Another interesting engagement will be teams fighting for control over the tower. By having a tower that is reachable by every agent, teams will be in constant control for the heaven area as it is great for retaking and camping the sites.

The Middle

The Middle Courtyard will be a huge chokepoint where both the Attacking and Defending teams will constantly try gaining control over it. It allows the attackers another entrance to the B bombsite as well as an entrance to the Defender’s spawn (which also leads to both bombsites). During buy rounds, it will be very dangerous for the attacking team to approach the middle courtyard without the use of an initiator or controller due to its singular entrance, while defenders will have multiple places to control the middle courtyard from. Because of this, Defenders may often hold mid with an Operator. With this in mind, the attacking team will most likely need to smoke off the middle line of the site, giving attackers multiple angles to approach from, including the crate they can jump on top of.

Headquarters Window

To add to these gameplay elements, players can peek and wallbang through a window placed on top of the “A bombsite” to clear more angles when on the defender’s side. This function is similar to the windows for “B” main on Ascent or the “Jail” fence on Icebox where players can see through but not go through. However, due to the window being solid, abilities like Omen’s teleport and projectile abilities can not go through it.


Post Mortem

My goal for this project was to create a fun and balanced prototype map that would bring new ideas into the game but still have the same competitive balance the game strives for. This map went through hundreds of iterations when being developed, however after completing this prototype and then creating the corresponding website, there are still a few changes I would make given time. However, without actual player feedback, these adjustments are more theoretical and would still need actual playtesting feedback to actually have a level I am satisfied with. One issue for the map I predict would be the main entrances to both bomb sites. I originally wanted the map to feel very open and have larger openings for the attackers to come through, however, when calculating the typical size of the smokes, I believe the main entrances are too wide at the moment. Because of this, typical smoke controllers will need to use multiple smokes to block single entrances, making controllers such as Viper more favorable. This could also result in the map being too heavily favored towards the attacking team as well. Another thing I would like to change would be the tower on the “B” bomb site. While I think having a heaven-like tower creates unique situations that aren’t currently in the game, I think it would be more interesting to have a “street” sewer where defenders can go through from the bottom. This further cements the identity of the “B” site where players peek from low elevation when approaching the site. Overall, I believe I achieved my goal, learned a lot about the craft and am very proud of the work I accomplished.

Video Walkthrough

Download the UE4 Map Here!

UE4ValorantMap(1.3G)

Janus

About

Janus: Helheim Coliseum is a captivating, fast-paced brawler game that showcases intense combat set within the mythical confines of Helheim, the Norse realm of the dead. As co-project manager, QA Lead and lead level designer, I played a pivotal role in bringing the game to life, focusing on creating an environment that balances strategic depth with frenetic action. Janus is designed to deliver a "feel-good" combat experience, where every punch, block, and maneuver feels impactful and rewarding.

Watch Video Gameplay

Concept and Team Dynamics:

The inception of Janus stemmed from our collective fascination with Norse legends and the dynamic world of brawler games. Our team's vision was clear from the start: to craft a game that was as entertaining as it was immersive.

Level and Environment Design:

The core of Janus's appeal lies in its meticulously designed levels and environments, inspired by the daunting yet awe-inspiring landscapes of Helheim. My responsibility involved producing 3D levels and environments, drawing heavily on Greek mythology to create a setting that was both mystical and inviting. Using Unreal Engine 4 and C++, we were able to breathe life into our vision, creating a game world that was both visually captivating and rich in lore.

Community Engagement and Testing:

A pivotal aspect of Janus's development was our engagement with the gaming community. We led public playtest sessions at various conventions, drawing in over 300 unique playtesters. This direct feedback was invaluable, allowing us to fine-tune gameplay, adjust difficulty levels, and ensure a seamless player experience.

Download it here!

390_Janitor420.zip (1.3G)

Cascade

Product Designer · Funkitron (Aristocrat) · 2019–2021

I designed gameplay and onboarding for Cascade, a free-to-play mobile puzzle game published by Big Fish Games under Aristocrat Leisure. My work focused on level design, tutorial flows, and player retention through data-driven UX and difficulty tuning.

Key Highlights

1M+
Downloads
4.7★
App Store Rating
300%+
Retention Improvement
250+
Levels Shipped

What I Did

  • Designed gameplay mechanics and onboarding tutorials to maximize new-player retention
  • Built 50+ levels and multiple tutorial sequences focused on usability and engagement loops
  • Translated playtest data into UX and difficulty tuning decisions that improved retention by 300%+
  • Collaborated with PMs and QA testers in agile sprints to ship over 250 levels

Check It Out

Google Play App Store

Jump The Gun

Game Director & Designer · Cardboard Games · 2021–2023

I directed and designed Jump The Gun, a self-published Foddian-style 2D shooting platformer where players use guns to propel a robot through an unforgiving cave. I led a team of 4 from concept to launch and maintained the game through post-launch updates driven by player analytics.

Key Highlights

50K+
Sales on Steam
88%
"Very Positive" Rating
4
Person Team
3+
Free Post-Launch Updates

What I Did

  • Led a team of 4 from concept to launch, managing design, playtesting, and production
  • Ran live playtests and produced all marketing assets including trailers and store page visuals
  • Refined the game's design based on direct player feedback and community engagement
  • Maintained and improved the game through free post-launch updates using Steam's analytics

Check It Out

Steam Store Page

Vendr

Lead Product Designer & Founder · Vendr Technologies · 2023–Present

I built and designed Vendr, a mobile and web marketplace for collectors. Each collectible community gets its own unique search filters, individualized recommendations based on user demographics and shopping history, and profile verification for buyer/seller trust. Currently in closed beta on iOS and Android.

Key Highlights

600+
Customer Interviews
iOS & Android
React Native App
100%
Design Ownership
3
Engineers Managed

What I Did

  • Built a mobile marketplace app using React Native and Firebase from the ground up
  • Designed every screen, icon, animation, and visual asset using Figma and Adobe Creative Suite
  • Designed a recommendation algorithm tailoring product suggestions to user demographics and shopping history
  • Conducted 600+ customer interviews to understand user needs and guide product decisions
  • Created all branding, marketing materials, and product websites, working with a team of 3 engineers to ship

Official Trailer

Check It Out

Visit Vendr

Cam Chin Design

I own and operate a web design business that builds websites for local businesses, including hotels, restaurants, gyms, and construction companies. I manage the full process—from design and development to photography, drone footage, SEO, and ongoing maintenance.

Client Websites

Driftwood Motel NJ

Driftwood
Motel

Hospitality

Visit Website
Brielle Sports Club

Brielle
Sports Club

Fitness

Visit Website
AJT NJ Construction

AJT
Construction

Construction

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Boardwalk Beach NJ

Boardwalk
Beach

Hospitality

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La Mondina Brielle

La Mondina
Brielle

Restaurant

Visit Website
Torsiello Construction

Torsiello
Construction

Construction

Visit Website
Manasquan Diner

Manasquan
Diner

Restaurant

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Epic Tank Game Deluxe

About

Epic Tank Game Deluxe is a first of its kind side-scrolling two-player shooter where players use tanks to bring the golden flag back to their base. This game was inspired by "Nidhogg" and "Wii Play Tanks". Grab a friend and test it out! This game was made in Unity and built for WebGL so NO download is required to play the game!

Video Gameplay

Play it out now!

Play Here

Left In The Dark

About

Left in the Dark was a group project my team of 3 and I made for Game Dev and Algo Prob Solve II in 2017. The game is a semi-randomized dungeon like crawler, where the player has to make it to one side of the map without being able to combat the enemies. For this project I was in charge of the game’s architecture, art and animation.

Video Gameplay

Download it here!

LitD.zip (22MB)

Lights and Shadows

About

Lights and Shadows was made with a few friends back in October, 2018. For this project we wanted our game to revolve around shadows. When playing this puzzle platformer you have the ability to manipulate shadows by controlling the sun. When doing this you are forming platforms to traverse across. At the moment there are only 5 levels out but more are currently being made. For this game I created the designs for each of the levels and all of the art assets.

Video Gameplay

Download it here!

LightsShadows1.1a.zip (15MB)

Learning By Osmosis

About

Learning By Osmosis was a 5 person group project made for the Global Game Jam, 2018. For this game I was the lead producer as well as the lead artist. This game is a 4 person brawler in which players throw books at their opponents to fill their heads with knowledge but giving them unique power-ups at the same time. This game requires at least one Xbox 360 controller to play. This game was coded from scratch in C#.

Video Gameplay

Download it here!

LearningByOsmosisV1.zip (26MB)

About

I have built and designed digital products across games, mobile apps, and websites for local businesses. I focus on creating experiences that feel intuitive and useful, tackling tricky problems, iterating fast, and making sure design decisions actually work in the real world.

My background in game design taught me to think about how people actually interact with what I build. I don't give up on problems easily, I learn quickly when things don't work, and I'd rather put something out into the world and make it better than sit on it forever.

Cameron Chin