Time Frame and Team - This project was completed over 15 weeks over the course of an entire semester with a team of 9 people as a UCF Game Design Senior Capstone.
Role - I was Creative Director and an artist on this project. As creative lead I was responsible for the look and feel of the game and had final say on what assets would be included into the final project. And as an artist I created 3D models and textures for both props and structural pieces, created all complex shaders seen in game, handled the build out of the walls floors etc, set up lighting and post processing, and was responsible for the design of the last two puzzles that close out the game.
About the Art -
3D props and structural pieces - As creative Director I was the one to set up the 3D pipeline and would make sure that all artist, including myself stuck to the pipeline and quality of work needed to bring Madhouse to life. I created over 70 props including things such as doors, windows, wall trims, railings etc. All structural assets that could not be made in engine as BSP. I also created props to fill out the game and make Madhouse look like a believable space. Both high and low poly models were created in Maya and UVs were also created in there. Objects were then brought into Substance Painter for both baking and texturing.
Shader Work - Madhouse has a collection of shaders that bring life and movement to the world. These were created using Unreal Engine's material editor. And were made to be as efficient as possible while still trying to create something stunning. The "Runes" in the first puzzle that you can see above move and distort and seem alive almost. This was done using UV distortion World position offset and a series of panning textures. The "Slime" and "Tentacles" seen everywhere, the shadow people, and the water with rain and ripples was done in much the same way.
Lighting and post processing - Lighting in Madhouse was a very big challenge. And I worked on it constantly. There is one set of static and stationary lighting that is used in every time period of the game. This is used to create a "Perceived darkness" in the game rather than complete black. And those lights are tinted cooler to give of the feeling of nighttime. The lights that are used on overhanging light bulbs, desk lamps etc. is dynamic as the story has the power turning on and off. These are tinted warmer. Lighting in certain sections of the game such as the last puzzle heavily rely on volumetric lighting as the player must navigate a "void" as they have to travel from light to light. Making these volumetric allowed the player to see them very clearly and from longer distances. For the post processing in engine each characters time period is tinted a different color so the player can recognize who they are immediately at all times.
About the Art -
Tileable Materials - A set of materials was created in Substance Designer for use directly in Unreal engine and in Substance painter. All materials have parameters and multiple variations of each one can be created by changing the values on them. The metal and wood textures were sent to all artists to assist them in the texturing process.
Software Used - Maya, Substance Painter, Substance Designer, Quixel Suite, Photoshop, Unreal Engine
About the Game - Years ago something went awry at the Lockwood Manor Mental Facility. Now, relive the mystery as P.I. Darren Hall as he investigates the missing persons case of James Hyde and Rebecca Flynn. Reality itself will be tested in this psychological thriller. Explore every nook and cranny of the crumbling ruins tucked away in North Lockwood, uncover clues and peer into the sinister past. You may reveal the truth... but will you survive?