The camera system was thought by the designers so that there were different specific shots to accentuate the narrative of the game. That is why we decided to choose to create the camera system from triggers which contain the information of the previous and next shot, such as the type, angles, distance, among other parameters.

• When the two players go through the trigger colliders, it detects the direction the players are coming from and sends the information to the camera so that it changes to a new shot.

• The camera system allows different types of movements. One of them is the one axis camera, which allows the movement of the camera on the axis you choose.

• One of the requirements that we were asked from the design was greater feedback from the camera during combat. That is why it was decided to implement a camera shake. The shake is produced by running a perlin noise texture. The designer can choose between different parameters to adjust the shake according to the needs.

• Following the previous line the discarded ultimate of the protagonists needed a boost visually. From this premise, an adjustable effect was made in which the camera creates a speed effect to give the sensation of a great shock wave.

• We needed that players could not get out of the edges of the camera to avoid mistakes and annoyances that could harm the gaming experience. A solution was reached which was to make a false frustum that would serve as the future position of the camera. The same is done with the positions of the two players and then the future movement of the players is predicted if they are outside the frustum of the chamber, the movement towards that direction will be blocked. It also considers whether your movement will cause you to leave your partner out of the camera.

Christian Martinez and I implemented the Wwise SDK in the engine to be able to use its audio related functionalities. I was also in charge of managing the Wwise project, that includes creating structures for creating soundbanks, adding new audio assets to the project.

At one point we saw that the game needed a more lively environment. For this reason, I decided to create an environment system which allows the audios of the levels to be distributed in different areas. In them you choose if the sound will be 3D, if it will have movement, its speed of movement, the direction the sound will make, if it is instantaneous, if it needs to be played more than once, if it will be random and what will be its interval.

I was also responsible for setting the footstep areas. Depending on the assigned material the sound will change. I also added the possibility of one timers events, which run once on the level.

On the design side, different songs were also required per area, and at the same time, combat, bosses, and volume management were managed according to incoming dialogues. For this, a Music Controller was created in charge of managing all the aforementioned aspects. According to the enemies that were close to the player, they were located and saved, the moment one of them died or they stopped seeing you, they were no longer taken into account.

With the last delivery near, we saw that the narrative of the game needed to be improved. We didn't have much time, so the option to implement a cutscene system was the fastest way to create certain cinematics. So I made a system of cutscenes which is made up of a father who manages his children. Which are each of the planes of the cinematics. Among the options that allow when creating the plans, is the transition speed, focus on a specific point, waiting time, camera shake and camera tracking in a bezier curve implemented by my teammate Yessica Servín. For time limitations, we didn't use as much as we wanted and we did only two cutscenes.

• From the need to stop players at certain parts of the level, so that they could not advance too quickly, the idea of ​​placing an element in parts of the map arose from the design that forced players to fight with the players. enemies. Once the enemies are defeated the players can continue through the level. This is how the Blocker Obstacle arose, which is made up of a father who has as sons the enemies that will be in that area. When these enemies leave the influence of the obstacle, it does not update its information until the player returns to his vision, once he detects that he has no children left, his maximum life falls dramatically so that players can finish off the obstacle. Later, together with the creation of Alex Morales' spawners, the two features would be merged into one.