Prince of Persia
Sand of Time


Action adventure

Junior Level Designer at Ubisoft India

PC - PS4 - XB1


The Challenges

How to work as a level designer on a remake

I arrived at Ubisoft India as an intern level designer and I did not know that I would work on the remake of one of the Ubisoft’s biggest franchises. It also was my first experience on a AAA production. After my internship, I continued to work on this production as a Junior Level Designer.

Might as well say it, it was a brand-new challenge for me. My experience at Ubisoft was split in two main parts that were essential: The challenge of working on a remake and living through a huge production.

As level designer, my job on Prince of Persia was to recreate the experience of the original one. I was in charge of several levels and it was essentially the technical part of a level designer job. I had to implement every aspect of the level: Gameplay ingredients, Dialogues, Camera cutscenes, breakable assets, parkour setup and IA management (enemies and Farah). It was a meticulous work on the metrics as well, to be able to replicate the same feeling.

I also spent a lot of time creating collision meshes for my levels and collision refinement for the entire game. Towards the end of the production, I mainly worked on debugging the levels.

Working on a AAA production for the first time, it was an opportunity to use tools that I hadn’t touched  in such a deep way before, like Jira and Confluence.

I worked with all the teams on the project. It was a huge challenge, because it is a young studio in India. They don’t have many people with experience so it was a totally new experience for everyone.

No one had worked on Anvil before, so it was a new start and a self-learning challenge for everybody on the project. There is a huge “From the bottom and now we here” vibes at Ubisoft India right now.


  • Collaborating with the different core teams.
  • Working on Anvil, I was in charge of different levels, from blockout to shippable quality
  • Creating, fine tuning and placing all the gameplay ingredients and cameras in the levels
  • Managing AI behaviour with visual scripting in-house tool
  • Helping remotely for the last phase of the production working closely with Level Artists
  • Focusing on collision refinement for the entire game using 3DSmax
  • Debugging

Work Highlights

Benoît Cassin