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Resistance - Level Art QandA by Athey Resistance - Level Art QandA by Athey
Level design process starts with the Designers talking in meetings and and writing a doc to plan out what sort of gameplay elements they want to make sure get into the level.

Like, first section is a hallway and the player gets to a room and fights leapers, next section a buddy NPC is there and you have to keep them alive while they open some door, and you get attacked by X number of baddies; next room need to be big because a Goliath comes in - etc.

After a bunch of meetings and rewrites, the designer for the level sits down with a layout artist and they build the very basic boxy shape of the rooms and hallways / spaces.
The layout is just a spacial reference and the designers take the layout and do a test population to see if their gameplay ideas work.
They usually DON'T, so the designer works back and forth with the layout artist a while to get it to the point where it works.

The layout has no textures, furniture, shapes, etc. It's just walls, floors, and boxes for cover and object placement reference.

Once the layout is a bit more solidified, it MIGHT (read: is supposed to, but often doesn't becasue of time restraints) go to a conecept artist working with the art director, who will take a couple screen shots of important rooms/spaces and do paintovers, filling in the space, planning out color, lighting, etc.

Then it's given to the level artist who takes the bland boxy layout, and the paintovers, and remodels the whole freaking thing to look pretty.

The level artist usually gets assigned a junior prop-monkey to do odd-job objects or to do a collision pass to speed things along, but sometimes they won't.


A detail that a lot of students aren't aware of is that most levels have to have a lot of extra and seemingly 'unnessecary' geometry for lighting and other technical puproses.

You know, how you hear all this 'low poly! low poly! low poly!' stuff in school about real-time art? Well, it's true, but I bet you'd get confused to crap if you actually looked at our terrain geometry because it looks like we're being insanely in-efficient.

Every flat surface; floors, walls, etc. is covered in a grid of polys.

Even a big huge square room, where you could have one giant polygon for the floor, a big poly for each wall, etc, is instead divided into a giant inefficient polygrid. It looks like a big crazy waste of polygons.

On the floor where you could have 2 tris (1 really big quad), instead you've got 60 tris, and that's for a 24ft x 20 ft space (generally, this is what we use, - we use a 4-ft grid). Relatively sizable room, but still - it could be 2 tris, but instead we use 60.

Why the waste?

Primarily, it's for Lighting.

In the latest gen machines - high-end PC Games, PS3, and (if you really push it and are optimal in other areas), the 360, you can have "real" lighting. Real-time lights, that cast real-time shadows, and look at the geometry to calculate the lighting right then and there.

This is a very CPU intensive task. Anything Gamecube/PS2/Xbox and lower, the Wii - most 360 games, and yes, even quite a few PS3 games, have most of the lighting pre-determined and "baked into" the terrain before hand, instead of being calculated in real-time on the fly.

But that DOES NOT MEAN that the lighting is baked into the textures. That would eat up WAY too many textures, and textures are expensive. Instead it's baked into the verticies with vertex colors.

The more dense the grid is on the mesh, the more detail you can put into the lighting. A lot of places will even go into the terrain and cut in edges where they want shadows to be cast.

It's a balancing act.

Verts eat up resources, so you do need to be sparce where you can, however if you're too sparce, the lighting looks like shit.

Another reason for the needed grid is poly clipping. This depends on the engine, but to save resources, the engine will only draw the polys that are on screen. So anything behind you won't get drawn.

If your polys are too large, you may get things clipping out that should still be visible. If the character/camera gets too close to an oversized poly, it will clip out. This is obviously not a good thing and you've probably seen it happen before.


Okay, so another question was if we use a ';pallete' of textures. The answer is yes, primarily.

It's highly recommended that we re-use the other artists textures and assets for several reasons.

1. It saves time. A texture that someone else made is a texture we don't have to waste time re-making. If it works for what we're making, then re-use it.
Most of our textures are made to tile to make this easier.
We also have a 'general rule' here for pixel density. 128x128 = 4ftx4ft
If we try to remain consistent with this rule, it makes it easy to reassign a texture with just a material id swap and not have to re-UV anything.

2. The other main reason for re-using textures is to keep things matching over multiple levels. Consistency.

On Resistance, we've got Chimera tech all over the place, and re-used a LOT of the same textures all over the different chimera tech in all the different levels.

If one of us made a texture for misc hexagon chimera metal that worked really nicely, lots of others re-used it.

Saves time, maintains consistency.


Keeping things efficient.

Okay, so the floors and walls have to have more density then seems sane - so what about furniture etc.?

Well, since we have to waste a shit-ton of verts on stupid flat surfaces, we have to try really hard to keep our objects/furniture/props low-polly as possible.

To best do this, most of the detail goes into the texture.

A wooden crate will be a box. A simple, flat, no-poly-detail-at-all 6-sided cube (probably 5-sided, since the bottom will be on the floor, so we'd delete that poly). The wood crate look will be 100% texture map.

As much detail as possible is put into the textures, because we simply don't have the resources to model in detail.

This will obviously be different if you're working on a next-gen console. With advanced shaders, and crazy cell-processors that can push a zillion verts, then you can model in a lot more detail then we can on the PSP. But they still keep the poly detail down to the minimum that they need, and often rely a lot on normal maps to add extra faux detail.

Just the same, it's important to realize that there are severe limits on textures as well.

Technically the PSP can handle 256x256 textures, but we RARELY use them. As a general rule, nothing larger then 128x128 is used. We often use 64x64 and even 32x32. (Yes that is a texture map that is much smaller then your avatar on deviantArt.)

These are also only 4-bit color density. 16 colors per texture map. Nothing more. The PSP CAN handle larger then that - It IS NOT a hardware limitation, but a self-imposed limitation. You'd be amazing how significant the texture file size difference there is between an optimized 16 color texture, and a 256 color texture. IT'S HUGE.

Low color, optimized textures are only like 4k per texture, and that's what we have to resort to, in order to fit everything into memory.

Making textures that can be re-used all over the level is important too. We don't unwrap every little object into it's own texture map. That's a waste. We do it for specific objects when needed, but a lot of general stuff is simple tiling maps that are re-used all over. We'll have a dirty metal texture that's used on lots of different things. The side panel for some machine. The legs for a metal work table. The body for some big metal contraption. The pipes in a room. The trim of a large metal door. All different parts, used all over the level, but using the same 128x128 texture map.

Very few things can be streamed from the disk on a PSP game. Battery life is important, and streaming EATS THE BATTERY. So the whole level has to be loaded into memory at the beginning, before the game play starts.

At our studio, we get 4megs for the level art. No More. Everything is divided up to try and give everyone enough memory to work with. Character geometry gets a file limit, particles get a file limit, Design has to work within a limit for their scripts; they also have to pay attention to memory for active NPCs for the AI - which eats up a lot of memory.

On Logan's Shadow we had Havoc (real-time physics objects), and havoc objects ate up a lot of memory. We didn't use Havoc in this game because we wnated to try and squeeze as many NPCs on screen as possible. We also added a lot of new enemy types like the leapers (The little dog-sized crawly monsters that pop out of pods and attack in packs). On the Syphon Filter games we never had more then 3 or 4 enemies on screen at once. We really tried to push that in Resistance, so we had to be more optimal in other areas.


That's all that comes to mind at the moment.
If anyone has more specific questions feel free to ask them and I'll do my best to answer.
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infinityspiral Featured By Owner Jun 20, 2012  Professional Digital Artist
This is actually a really interesting read :) I hope you keep these up.
SamuraiTaiga Featured By Owner Mar 13, 2012
Fascinating lecture, and explains a great deal, though I'm not surprised at all. Film industry was often like this, with loads of "extra" details that didn't seem anything more than waste, but really added effectively to the overall imagery of the film. Writers - good writers - do the same, and the better ones never miss a trick in using those early details becoming occasionally very important later in the resoluton of a story scene.
Arekkz Featured By Owner Jan 7, 2011  Hobbyist Interface Designer
That is really useful! Thank you! I am a Game Design student myself, and I really want to go in to Level Design, so I found this really insightful!
Albrecht-Smuten Featured By Owner Jul 29, 2010
Oh god... you are a bottomless source of information and itīs so cool of you, that you share it. Probably a best reason to get the Deviousness Award Iīve seen so far (though something tells me you donīt care about it at all =) ).

Thanks a lot.
Satsumo Featured By Owner Jul 28, 2010  Professional Traditional Artist
This is very well written. A real explanation of how game environments are modelled, including the technical limitations and the workflow. People are always asking for this kind of information.

I especially like that you explain why there are so many polys in the flat surfaces.

That isn't just PSP games either. High end PC, PS3 and X-Box 360 games still use this method. Some rendering math is still too complex to done on a per pixel basis. Specular highlights, depth of field effects, volumetric fog, these are typical done on a per vertex basis.

It may need another generation before those extra vertices dissapear, possibly not even then. Plus, there will still be extra vertices for texturing.
jabranbaig Featured By Owner Mar 5, 2010
very nicely well done
Karmiska Featured By Owner Sep 25, 2009
Thank you for a nice explanation on game design workflow. I knew most of it, but it's good to hear it from a professional. I'm planning on a career in it and that was valuable information.
Roelor Featured By Owner Sep 17, 2009

Wat's the trianglecount of your average level,
(it could be that you mentioned it but I must've read past it.)

I am trying to model for lower performance machines, but the game engine doesn't support vertex colours. Is it still better to do it this way? (I'd still have to use a larger heightmap/polymap, (go over all the geometry with a transparant gray polys.
Athey Featured By Owner Sep 17, 2009  Professional Digital Artist
The triangle count of the level was never something we considered.
It was 'no more than 30,000 verts ON SCREEN at a time' (that wasn't how many verts were in the whole level, just how many the player could see as he turned around and faced different areas), and 'keep the level geometry memory under 4mgs. But that's for PSP. Whatever engine you're using most likely has completely different limitations. There is no universal law that applies to all engines or systems. If you aren't using vertex colors than the system must have some other way that it lights the levels, and THAT probably eats up it's own allocation of memory.
Roelor Featured By Owner Sep 17, 2009
(The only way is using shaders or shadow geometry or even realtime shading, Which (the realtime shading) I don't consider for the level itself.)

mkornatka Featured By Owner Aug 28, 2009
Tristans-letter Featured By Owner May 29, 2009  Hobbyist Artist
Sweet, at least I know that I'm doing the correct thing =D
Kruku Featured By Owner May 27, 2009  Professional Digital Artist
heh old school mapping, good thing in not alone XD
sensail337 Featured By Owner Apr 29, 2009
i haven't read the whole thing yet (i will!), but the first thing that comes to mind is i can't believe all those cuts! it just goes against how i model completely. i can't stand having so many divisions. only recently did i realize how essential it is for texturing, but it still drives me kinda crazy ._.

also, that second boxy-primitive stage; isn't that a bubble diagram?
Athey Featured By Owner May 1, 2009  Professional Digital Artist
Never heard it called a bubble diagram, but maybe someone, somewhere, calls it that. We just call it 'layout'.

And yes - the crazy density of the sub divisions can be weird to work with at first. It does make it easy to get consistent pixel density on large flat surfaces (walls, floors, etc.)

Basically, one square is 4ft x 4ft, and if I have a 128x128 texture, I know it's supposed to take up 8ft x 8ft.

I go into the UV Unwrap window and select 4 squares, so it equals 8ft x 8ft and I do a planar map and hit FIT.

After that I can select the entire floor and hit planar map again and it'll map the entire floor to that same ratio and I know it's exactly the correct size.

It also makes having texture variants simple so that it's not just the same texture over the whole floor.

I can make two or three versions of that one texture map - say it's a floor and one is the 'clean' version and it goes over everything. But I have two different 'dirty' versions. I randomly select polys around the floor and change the material ID to one of the dirty versions and BAM - instant variety.

You get used to working with it and start planning your textures to take advantage of it.

Optimizing the level at the end is always a depressing pain in the ass though.
We are almost ALWAYS over our limit by the end, so we have to go through the level and cut out as much as we can. If we cut too much from the floors and walls the lighting looks like CRAP, and of course, you run the risk of screwing up any texture variation stuff you had setup.

It's all a balancing act.
sensail337 Featured By Owner May 14, 2009
so how many IDs would you end up using for that object? i figure you'd have a few for floor variants, a few for wall variants, and then you could still map multiple things to one ID, like railings and steps, or other more unique geometry

it makes my head spin ;_;
Athey Featured By Owner May 14, 2009  Professional Digital Artist
We have a single multi-sub material map for the entire level, so by the end it's usually got more then 100-200 materials IDs. We've got some tools that optimize multi-sub materials and alphabetize them, so it's a little less of a headache to deal with, but it can definitely get crazy.
staticshade Featured By Owner Apr 25, 2009
wow this is some really interesting stuff as i'm hoping to become a game programmer(and maybe designer in the future) specifcally for handheld consoles

great job on this game by the way
GavinUnit Featured By Owner Mar 31, 2009
Shit, I can't believe I came across this somehow. I LOVE stuff like this!
Amazing. Thank you so much for taking the time to write out your work flow for us to read, I really appreciate it.
3D modeling for games is what I plan to get into once I grad. I've been lucky enough to take a bunch of modeling courses throughout high school, but am grading soon and am not as sure as I once was on what school I should go to. If you don't mind, what school did you go to before this job? Also, what art-related jobs did you have before this?

Athey Featured By Owner Apr 1, 2009  Professional Digital Artist
As you saw in another deviation, I went to Digipen Institute of Tech. Before that I went to another school for 2-years but left it because it was a crap-hole. I got a 2-year degree at digipen, back when that was all they offered. Now they only have the 4-year art program (I think... they may still have the 2-year program, and I just don't know)

I graduated over 5-years ago, and the school has undergone a lot of changes since I left, so I can't say how good it still is. It had a rough spot there for a while, but the guy who caused it got fired, so I'd like to be hopeful that it's recovering. :)

Digipen has no dormitories, and is expensive. It only got it's final US accreditation like 6 years ago, and back when I went there, you couldn't get government backed loans yet and it make scholarships and student loans difficult. Again - it's been 6 years, so I'd assume things have changed.

One thing Digipen did do very well was kick your ass and make you work hard. The school literally simulated crunch mode the whole time I was there. It was very difficult and stressful. But it prepared me a LOT more for the industry then the other college I went to before it.

For Art-Related jobs, I've been a technical character artist (which means, I rigged and exported the characters for in-game, and for the pre-rendered cinematics) and I've been a terrain/level artist. Oh, and my first job was a Contract position (temp non-salary job w/ no benefits) and I was basically just a "prop-bitch/collision-monkey" (those are official job titles- really they are)
sensail337 Featured By Owner May 14, 2009
oh god i wish this school had beaten some discipline into me. i am doomed :(
GavinUnit Featured By Owner Apr 1, 2009
* * * * * * * * * * * *
So sorry this ended up being so long! Not too sure how that happened.
I realize you are most likely busy, so If you don't have the time to read this right now I totally understand.
I guess I'm just trying to jump at the chance to ask someones opinion who is already in the industry themselves. THANK YOU SO MUCH FOR YOUR TIME! :) :) :)
* * * * * * * * * * * *

I was wondering because I've been accepted into the Art Institute for "3D Modeling for Animation and Games", but am no longer sure if I want to go there. I've gone there to talk o the teachers and students and it seems like I already know majority of the things I will be taught in Maya and Photoshop (also, the 3D modeling instructor is kinda a dick). So the main reason I'd go there is to get connections into the industry and learn more about working in teams (concept,drawing,model,texture,rig,implement,animate,etc). $45,000 to get some connections into the game industry and whatnot is a hard thing for me to grasp.
The other option that I am considering is taking online courses through Gnomon Online ( [link] ), because I have worked with their instructors DVD tutorials and they are amazing. Also, it's a hell of a lot cheaper and more convenient working from home because my workstation set up is actually, in more ways than one, better than the schools. So this way I would be learning a lot more and more specific things that I want to get into (Not saying I'm going straight for one thing in particular, I realize having a broad knowledge of things is very important in the industry), but I could start getting taught from my current level, not back from square one as it would be at the school.
As for connections into the industry, I'm lucky to have an older brother already in there and he also went to the school I am currently accepted into and therefore has many contacts within the industry that I could take advantage of.
The two things that I would be missing out on if I went the Gnomon Online path is that I would not get a diploma or anything to show for my studies, all you get out of it is the skills and techniques. The other thing is working with teams, which I imagine is a very important aspect. Fortunately I do have some experience from my current school by working on projects in partners, where we'd both give each other things to do. For example I'd model a section and my partner would texture it, then we'd switch positions. Things like that. I realize this isn't really enough tho, which brings me to my main question... being in the industry yourself, do you think that going to a school is really that important to a potential employer? Even if you posses the required skills and work ethic as shown in your demo reel/portfolio, and is having this (along with more team working skills) really worth the $45,000?
Athey Featured By Owner Apr 1, 2009  Professional Digital Artist
It's a difficult question to answer. There def is no 'yes' or 'no' answer. I would say that the 'network' of people that I went to school with is occasionally useful to me. I've actually worked with a lot of the people I went to school with, and have talked with quite a few of them in the years since graduation.

The first job I got was because someone I knew from digipen, who had left the year before I did, was already working at the studio and I sent him a zip file with my work and my resume and he gave it to the art manager. I had 9 months of result-less job hunting before that.

As far as the school doing anything to help me with my post-graduation job hunting? Nothing. They all say that they'll help with connections/networking job-hunting... but I don't think any of them really can do much to help with that.

Getting your first job in this industry will be a very difficult thing if you have a degree or not. The FIRST thing any place will look at is your actual portfolio. First thing they want to know is if your work is any good.

However, the 2nd thing that most places will immediately look at is how many years experience you have in the industry, and how many published titles you have under your belt. If the answer to both is 0, a lot of places will immediately throw your application in the 'ignore' pile... or the trash cane.

It's very lame, and makes it very difficult to get your first job.

If you have no real experience, then the next thing they'll look at is your degree, and if you don't have one, in some studios that might be another 'instant trash can' qualifier.

When a human resources person is sifting through a bunch of apps, their first task is to narrow it down to the smallest number of viable candidates.

The only real way to avoid the 'instant trash' reaction, to the no degree defect is to have a really badass portfolio. If you can really have a very very good set of work to show, you could get away without having a degree.

The biggest advantage of going to school is that it forces you to get work done. If you can force yourself to do that, without forking over the dough, then that's a viable option.

Another possibility is that you could look at other schools. The one you mentioned doesn't sound very impressive.
GavinUnit Featured By Owner Apr 1, 2009
Wow, thanks a lot for the quick reply :)
The school I mentioned is, believe it or not, said to be one of the best for computer based art in Canada. It's sadly disappointing... which is why I have been considering the online school.
The online school is broken up into 5-10 week courses that you register for, and you are given homework with deadlines and have your finished work looked over by the teachers, so it sounds fairly promising.
I guess I'll just have to give it some more thought and see...
Thanks a bunch for the help.
Athey Featured By Owner Apr 1, 2009  Professional Digital Artist
And you could still put on your resume that you've completed the Genom online coures. List it sort of like a certification would be listed. It's not a degree, but still worth something. And most industry pros are well aware of how good the instruction DVDs are. We've ordered a few at our studio and have them in our library.
GavinUnit Featured By Owner Mar 31, 2009
Also, it blows me away that the PSP can render off so many polys, and textures up to 256x256. That is insane! I never expected that.
Me and my bud remade and island from Zelda: Windwaker for fun but also to start getting a grasp on low poly modeling and low res texturing and going from game screenshots we must have used the same general amount of poly's you guys did for this environment for a PSP game as we did on a Gamecube game!
This is good news. I'm glad hardware is coming along further than I had thought.
senor-freebie Featured By Owner Mar 31, 2009  Professional Digital Artist
Another handy reason to re-use textures can be to save on ROM space. If you call on the same texture in 5 different levels rather then having 5 unique textures you might be able to fit your game on a smaller ROM. I don't know if PSP disk's come in different sizes but that was a factor for our DS development.
akdesignstudios Featured By Owner Mar 31, 2009  Professional Digital Artist
Looking good.
IceCreamMatt Featured By Owner Mar 31, 2009   Digital Artist
That was a great article. I hope you do more that long in the future.
mikebarnhardt Featured By Owner Mar 31, 2009  Student Digital Artist
This was incredibly helpful. Thanks!
Darkness545454 Featured By Owner Mar 31, 2009  Professional Digital Artist
Well the texture part is what I have aready been doing (but for computer games it's alot more lenient with texture sizes, so theres no going to 32x32 lol)

The idea with creating basic gemetry, that's gold to me, thats exactly what I was looking for, thanks a million Athey! (I always started out too complex, so now I'm thinking as to look at level design as I would look at sketching, start out with basic shapes then add detail later..) If you think about it almost if not all art workes this way, never start with the detail untill you have everything laid out, like with writing.. "outline" then explain your topics individualy to gather further detail..

One more question, how do you make "destroyed" buildings? Because when I model something it tends to come out too "perfect" whats a good method to the destruction?


I'm definately saving this page...
Athey Featured By Owner Mar 31, 2009  Professional Digital Artist
I've had to do a lot of destroyed stuff. More often then not, I've had to have both states - the in-tact version, and the destroyed version. Like in one level, there was this big room and a burrower blew through a wall at one point and a goliath came out and started smashing stuff. So first I had to build the room in tact, and then make a second version that was all F'd up.

So, I guess for one example -
Say you've got this wall texture. I'd make two more additional versions of that wall texture - one that's still some of the wall, but also some cracked/crumbled/exposed interior patches. Then a third version that is just the crushed interior. So say if it was a concrete wall, maybe some rebarb would be visible inthe 2nd version, and just crumbled concrete for the 3rd.

Here's a good example of the sort of thing you could use - [link];PHPSESSID=b55f5ef73fadceedd13caef91d20cf05

And on this one, see how some parts are messed up and some is fairly decent clean brick? Well, you'd have one texture that's just the intact brick, and another version where you put in mostly the messed-up parts: [link];PHPSESSID=b55f5ef73fadceedd13caef91d20cf05

For the mid state version you could throw in cracks like in this one -
or this one -

Here's another good example of a in-tact version, and a more messed-up version -

For the 3rd state I try to stick to things that are mostly just crumbled. Really messed up - doesn't even have to show much of the original texture at all. This is the texture you'd get if you took the wall and broke it in half, and the stuff you'd find on the newly exposed broken edge.

Maybe something like this one - [link];PHPSESSID=b55f5ef73fadceedd13caef91d20cf05

Anyways, so you've got your varied states of f'd up texture. Then you go into your clean wall (and if you're keeping a clean version, make a copy) and just start cutting new edges along areas that should be broken. Cut out chunks, indent area, make areas around windows and door frames -
Search for images of destroyed buildings etc. for reference and ideas of what sorts of messed up shapes to make.

Then assign your different textures to different areas.
It'll take some more tweaking and just go back and forth until you've got something like what you want.
Darkness545454 Featured By Owner Mar 31, 2009  Professional Digital Artist
Well, I had an idea for destruction(mesh), but I wasn't sure if it was a good one.

I was thinking, if I created a box with a good mount of geometry, deformed it as nessisary, then throw noise on it so it gets really random and F'd up, then I could take that box to my level that I want destroyed, place the box in the mesh area and boolean (negative) the box out of the room. So the box would ideally cut out a chunk in the wall, then I could just go about indenting the wall as nessisary after that..

But, a problem immediately entered my head when I thought of that, I remembered that Boolean is very very messy when it comes to geomerty (can even cause errors) and instead of getting uniform geometry boolean would litterally F up the level (atleast the wall)..

But, what do you think about the idea?
Athey Featured By Owner Apr 1, 2009  Professional Digital Artist
I have used boolean in level art, but the key is to go back in and clean everything up by hand. You can't leave the mess that boolean creates behind.

I put up an image that might give you an idea of how I do some types of f'd up rubble mess -

nabui Featured By Owner Mar 30, 2009
i think it need more lighting...
Athey Featured By Owner Mar 31, 2009  Professional Digital Artist
Yeah, but these are screenshots directly out of 3dsmax. The lighting is a lot brighter on the PSP. It makes lighting a real pain in the ass because what I see when I'm working on my computer, isn't what it ends up looking like after export, so there's a lot of trial and error (which is annoying because running the lighting simulation takes SO FRICKING LONG).
nabui Featured By Owner Mar 31, 2009
yeah.. i got same case!..
gapriest Featured By Owner Mar 30, 2009   General Artist
That's cool stuff, thanks for the info. I've always thought environment modeling might be fun. I imagine going back and forth on things with the designers might be tedious but creating an actual environment that players will inhabit just seems like a cool thing.
Athey Featured By Owner Mar 31, 2009  Professional Digital Artist
Yeah, enviroment art was never my thing - I just sort of got thrown into it due to a lack of staffing =P We had several of our level artists leave, so they ended up handing stuff off to me. It was insanely overwhelming at the time, since I'd never done it before! lol...
mcunha98 Featured By Owner Mar 30, 2009
I guess, you have many polys in some areas are useless...

But, nice job
Athey Featured By Owner Mar 30, 2009  Professional Digital Artist
Please actually read the description.
mcunha98 Featured By Owner Mar 31, 2009
Ok, no prob
EllriNidhogg Featured By Owner Mar 30, 2009  Professional General Artist
i needed this to keep going on my own 3d game stuff thanks
Christopher-Buchanan Featured By Owner Mar 30, 2009  Hobbyist Digital Artist
This is an awesome example of good work flow
and how a team can work to make a project work.

Thanks a lot also for that amazingly detailed description of the processes for someone like me who hasn't gotten into the professional scene this is a great set-up for what i have to look forward to.
Sasajun Featured By Owner Mar 30, 2009
the textured thing might be the hardest in my opinion (technically for me atleast) But the reas of it looks to be a fun process. Its actually one big imagination step, though im sure you can run out of ideas very fast. Very nice to show this
mesod Featured By Owner Mar 30, 2009
thanks for those idea . about level design.
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