I think UI is the most important. The umbrella of UI contains every visual element that is not physically within the gameworld and without a good interface that meshes well with the game it will feel incomplete. Sound can be incredibly important, but a game can work without sound. Same for cutscenes. But UI needs to, at the very least, be responsive and functional for a proper game to be playable. For my UI to be immersive, I have made the screens representative of the game and its levels with colour coding and pause screen screenshot that is from the actual game. These make the menu feel like a transition into the game rather than screens separate from it.

:3< Storing widgets in the Player Controller allow them to be accessed at any time in any level with any character instead of necessitating the duplication of the code over and over again. It also allows for easy, universal changes instead of having to go through all instances making those changes again and again. When moving to another level, I want players to feel that they are being transported to that level through some in-game means, even if nonsensical teleportation. If it weren't as it was, they would feel like they are being taken out and put back in instead, which is immersion breaking.

I think the most important thing I learned about widgets and their connection to the other factors of a game's design is this: having everything in one place is incredibly important for scalability. It also helps keep track of what is where by implementing a system in which certain things are always in one place.  Adding a background image helps give the player an idea of what they are going to play and can sometimes suggest game mechanics. Visual style of a menu can tell a player how well made a game is as well, because the style of the UI and the game are usually synced. 

I think the most useful thing I learned is the value of a menu's synergy with the rest of the game on the coding side; the menu must be in its own area so that it can extend from that area and reach out to all other facets of the game. If it gets tangled, it will get lost in everything else, consequently making it incredibly hard to make usable.

Random timing for the ambiance makes it feel like a natural occurrence made by the fauna of the world instead of something implemented by the developer to poorly imitate natural noises. I do not notice ambiant noise in the games I play much, but I can attest to at least a few TF2 maps having things like mechanical beeping and (I think) whirring, wind, birds, etcetera, in certain areas. It always adds a little extra immersion to my playing experience, and I think the way to recreate that is by adding more small noises that indicate more action than can be observed.

Blueprints make the music easier to control by allowing cues to be linked to any other event. By doing this, the music can be turned on or off at any point in time with ease. Changing the background music can help the player feel the emotions that the game is intending for them to feel, I notice it in games like ULTRAKILL where the breakcore music makes the player feel like they're unstoppable.

Blueprints make the music easier to control by allowing cues to be linked to any other event. By doing this, the music can be turned on or off at any point in time with ease. Changing the background music can help the player feel the emotions that the game is intending for them to feel, I notice it in games like ULTRAKILL where the breakcore music makes the player feel like they're unstoppable.

I learned the importance of sounds in games, especially the less noticable ones. They help with immersion and making the world feel like something the player is experiencing instead of something they are playing. Music helps set the tone, as well. Both serve to massively improve the player's experience with a game and its world.

(Blueprints for the sound's functionality)

Music transitions being controlled in blueprints allows for easier customisation and triggering. With that, music and sounds can be turned on and off as needed for a cutscene or for gameplay, allowing for a more controlled experience. In story-focused games, the music will often shift to help guide a player's emotions about a scene. I, personally, have not played any games that use this tactic; however, ULTRAKILL will shift from a "calm" mix to an "active" mix of its songs depending on whether or not combat is taking place. This shift always gears me to be more active in my playstyle because of ULTRAKILL's hyper styled music.

The way the rails work can sometimes create very sharp bends, which result in jittery movements that do not feel good for a player's experience. Getting timing, rail-paths, and rotations all right takes a lot of work, and can often end up being too fast or too slow. Making each area have its own sequence made me think about what is necessary to show, and how I can show as much of it in as little time as possible. It also made me think about the best way to cut from scene to scene, like where to start and end to give the player the best idea of the level while still cutting fluff.

In combining sequences, making sure that the cuts were smooth was very important for a smooth viewing experience. Adding music and animation also helped 'hype up' the player for the level they are soon to play. My final cutscene attempts to reflect upon the player a fun mood, because I want the player to have fun when interacting with my game.

I learned the importance of a cutscene. It sets the tone of what the level will be like, and explicitly shows the content of the level's platforms. They also can suggest to the player the challenges. Using good cinemetography allows the creator to make a visually interesting and engaging showcase of their level.