Singularity - The Wasteland

This is the second area I worked on in Singularity.
The first area is the makeshift morgue hallway, since that this area is humid, flooded by E99 waste, and has a lot of corpse, we thought that this area will be great to be set dressed as a small phase tick nest. I am responsible the level construction and some lighting. Layout, modeling, and texturing are made by my fellow teammates.

Singularity - The Village

Ahh, new project! This is my first time working in a FPS title. I found this project very interesting to work on because I always love the "game realistic" style - dirty,shiny, and lots of nasty stuff.


During the development time, there were many version of level ideas, they were blocked out, constructed, polished, but then we find that they didn't really fit with the game story, or didn't offer enough of entertaining gameplay, so in the end they were all tossed out of the window. The screenshot below, are the final version we came up with (and shipped with). 


First, I was put onto "the village team". The village is the first level the game, Where the player crash landed onto the island Katorga-12 and begin his journey to stop the singularity. I was honored to be given the task to work on the first area of the game. I was really excited, I mean, how often do you get the chance to make the first environment that the player ever going to see in a game? As the player wake up from the crash, they will see this crashing side on an abandoned harbor, covered in beautiful fire effects done by Tim Elek.

I am responsible the level construction and some lighting. Layout, modeling, and texturing are made by my fellow teammates.

Crash Landed.

As the player progress, they enter the building area, only to find themselves surrounded by E99 infected mutants. I started constructing this level by recycling an old building we no longer use in the game. It was originally clean and empty, so I added destructions and grungy decals to give it an abandon look. Once the setdressing was completed, I passed the level to Shane Daley to finish the lighting.

After Escaping the building filled with mutants, the player and his partner has to get to the radio tower to send out an distress signal. This area is a big challenge, since that the designers would like to have a big open view to make sure the goal is very clear, we had a very difficult time to keep a smooth frame rate. But with the help from Todd Foster we were able to optimize the level down by:

• turn the far away models into vista models and matte painting
• constructed buildings and objects to strategically block off far away objects for distance culling.
• makes some shader cheaper

X-men Origins Wolverine Work - Weapon X Lab

Hello again! Here are my work for the Weapon X Lab in X-men Origins: Wolverine game.

This is where Wolverine got his shiny claws!

Compare to the Sentinel Lab, this level is more realistic and gory looking instead of the clean and Sci-Fi Look. Using the existed models and textures, I constructed many rooms in this level. With a basic light rig made by the talented guys at Raven, I also lit most of the rooms I constructed as well.   During the production of this level, I was mentored by some FANTASTIC artist at Raven - Derrick Hammond, Justin Dinges, Gustavo Rasche and more. Thanks to them, I felt like I was able to take my artwork to the next level compare to the Sentinel Lab.

Here are some shots from the level

X-men Origins Wolverine Work - Sentinel Lab

Here are some work I did for the X-Men Origins: Wolverine game. 
This is the first task I ever received since I got hired at Raven. My job was to use the existed textures and models to construct a enormous factory, where the giant mutant killing machine - The Sentinel is being constructed. It was a fantastic experience to work with so much talented industry people for the first time ever in my life.

The Sentinel Lab. Player have to jump between moving platforms
to get to the middle control hub to open the giant gate to the next
Level.

After a month of production, we ran into a serious performance issues with this level. The problem came from an insane amount of draw counts and poly. Since the level is so open, we cannot cull out the far away objects because the disappearing emissive lights on the props are very noticeable to the player's eyes. In the end, we came up with a lot of solution to make this level run-able:

• Combined multiple wall tiles into one single object to save up a significant amount of draw count.
• Added heavy fog to this level, allowing us to cull out far away objects.
• Turned props outside of player's path into vista objects with low emissive "fake lighting" maps to save space in poly and light maps.
• Re-did  lighting, it is now a lot darker; therefore, allowing us to hide a lot of objects and turn them into low poly version.

So big... So open...

Here are some shots from the level.