MADE WITH:
AUTODESK MAYA
SUBSTANCE PAINTER
I wantet do try and create fantasy characters in 3D, and rather than creating one of my own and sketching those, I used a reference picture from internet, something I could try and re- create in 3D. I used this picture of a mage from the artist "Sephiroth-Art" on Deviantart. The only thing I did here was re-creating this picture in 3D and texturing this in Substance Painter.
After I was done with this, I continued playing with some new techniques I recently learned, and tried to give it a cartoonish look to it.
MADE WITH:
AUTODESK MAYA
SUBSTANCE PAINTER
I wantet do try and create fantasy characters in 3D, and rather than creating one of my own and sketching those, I used a reference picture from internet, something I could try and re- create in 3D. I used this picture of a mage from the artist "Sephiroth-Art" on Deviantart. The only thing I did here was re-creating this picture in 3D and texturing this in Substance Painter.
After I was done with this, I continued playing with some new techniques I recently learned, and tried to give it a cartoonish look to it.
MADE WITH:
Autodesk Maya
Unreal Engine
Substance Painter
I always liked the look and architecture of the medieval age, and even more of the Victorian age. I liked them in games, too, and combined this with a low poly harbor in the style of the story- driven game, HERALD.
This scene contains two different houses that are reused constantly with only a change in the tint of the textures, and this entire scene is completed with moving dynamic water, the ship that slowly moves on the water and smoke that was coming from the chimney. The tint of the entire scene is warm and it has dynamic lightning and minimal shadow to give a cartoonish and low poly feeling to it.
MADE WITH:
Autodesk Maya
Unreal Engine
Substance Painter
I always liked the look and architecture of the medieval age, and even more of the Victorian age. I liked them in games, too, and combined this with a low poly harbor in the style of the story- driven game, HERALD.
This scene contains two different houses that are reused constantly with only a change in the tint of the textures, and this entire scene is completed with moving dynamic water, the ship that slowly moves on the water and smoke that was coming from the chimney. The tint of the entire scene is warm and it has dynamic lightning and minimal shadow to give a cartoonish and low poly feeling to it.
MADE WITH:
Autodesk Maya
Unreal Engine
Substance Painter
I always liked the look and architecture of the medieval age, and even more of the Victorian age. I liked them in games, too, and combined this with a low poly harbor in the style of the story- driven game, HERALD.
This scene contains two different houses that are reused constantly with only a change in the tint of the textures, and this entire scene is completed with moving dynamic water, the ship that slowly moves on the water and smoke that was coming from the chimney. The tint of the entire scene is warm and it has dynamic lightning and minimal shadow to give a cartoonish and low poly feeling to it.
MADE WITH:
Autodesk Maya
Unreal Engine
Substance Painter
I always liked the look and architecture of the medieval age, and even more of the Victorian age. I liked them in games, too, and combined this with a low poly harbor in the style of the story- driven game, HERALD.
This scene contains two different houses that are reused constantly with only a change in the tint of the textures, and this entire scene is completed with moving dynamic water, the ship that slowly moves on the water and smoke that was coming from the chimney. The tint of the entire scene is warm and it has dynamic lightning and minimal shadow to give a cartoonish and low poly feeling to it.
MADE WITH:
Autodesk Maya
Unreal Engine
Substance Painter
I always liked the look and architecture of the medieval age, and even more of the Victorian age. I liked them in games, too, and combined this with a low poly harbor in the style of the story- driven game, HERALD.
This scene contains two different houses that are reused constantly with only a change in the tint of the textures, and this entire scene is completed with moving dynamic water, the ship that slowly moves on the water and smoke that was coming from the chimney. The tint of the entire scene is warm and it has dynamic lightning and minimal shadow to give a cartoonish and low poly feeling to it.
A speed modelling assigment at school, where we needed to speed model the table that our teacher set up for us. We did it under 4 hours in-class.
Game Design & Production - Narrative and Level designer
Child of Lothian
───────•••───────
In the Child of Lothian demo, the bustling streets of 18th century Edinburgh disappear beneath the shadows of witch hunters looming in the streets. Hushed whispers appear in every corner and suspicious gazes of townspeople fall upon their neighbors as friends become enemies. What is your role to play as an orphan, in the 18th-century witch trials?
───────•••───────
For this 16 weeks long ongoing project, I have been the lead narrative designer, having come up with the main story, goal, phasing and characters from scratch.
Our brief was basic: create a stealth game set in 18th century Edinburgh and you must play as an orphan. The rest was up to us.
I took this brief apart by doing research in 18th century Edinburgh, creating a timeline of interesting events and pinpoint interesting story ideas and motives for the main character from this.
All these ideas I compiled into a document to propose this to my team before merging some of the favorites together to finally come up with the narrative shown in Child of Lothian, which narrative I continued fleshen out in Campfire Blaze.
The quest design was also up to me- and this I did by taking the existing timeline I had created for Child of Lothian and pinpointing which sequence included both the most gameplay and suspenseful story elements just enough to be appropiate for a potentional Demo. I concepted this quest from scratch as well, along with the narrative story elements within this and, of course, the dialogues.
in the first 8 weeks, I learned and found my personal pipelines and work flow on concepting narrative from scratch. The 8 weeks after that, I grew in my skills of quest design concepting and managed to get over 70 dialogue lines within the game for the demo alone so far by concepting this in plain english and translating this to historically accurate scottish through playtesting, feedback and reaching out to actual scots.
MADE WITH
Unreal engine 4
Campfire blaze
GENRE
Historical stealth
DOWNLOADS
TBA
TIME SPAN
September 2021
32 weeks
Starting off with the quest design, I concepted a few potentional quest flows we could use as base when creating quests. I concepted the pipelines, as to say, and proposed this to the team. After many iterations, I ended up with the one showcased on the slide next to this paragraph, and used this as base when coming up with the actual nodemap for our demo quest.
This entire excel sheet I have created to keep track of the quest and narrative. Initially I create a nodemap of the quest flow and phasing, but after that, I broke each path down within this excel sheet to see how I can make sense of them narratively. I used this page for:
•Breaking each path down with narrative context
•Set dependencies for each sequence to keep track of what we need and how large the scope is
•Add vague descriptions of dialogues and NPC interactions
QUEST DESIGN ONE PAGERS
QUEST NARRATIVE DESIGN AND DIALOGUE ARCHIVE
NARRATIVE DESIGN PROPOSAL
This is the document I compiled to propose the narrative to my team once I was done concepting the overarching idea. I made sure to include the scope, character, dependencies and tension arch to demonstrate the general idea and atmosphere of the game. Once this was approved of, I started compiling all of my ideas within the Campfire Blaze site, and continued concepting in here. This is the website where I also write and compile the scripts of each narrative sequence according to the timeline I have set up in here as well.
For more information and insight on the narrative, here I present the CAMPFIRE BLAZE site as mentioned above.
