Play as a mercenary surviving the futuristic wastelands in this co-op, top down, twin stick shooter by Top Shelf Studios.
Role: Art Lead/Animator
- Created and managed tasks for the art team in Hack n’ Plan
- Rigged and Animated characters
- Directed all animations in the game
- Modeled and textured props
- Lighting and post processing
- Provided constructive feedback, ensured that all assets were properly optimized, and adjusted other’s work as needed
- Worked alongside the creative director on the ASG
Main Character Animations
Prior to being given a model to work with I began creating animations using the Mixamo rig. I found the rig to work out in most cases, but it ultimately had some fatal flaws that rendered it unusable for what we were trying to do.
Once I got the player model, I began to retarget the animations that I made with Mixamo’s rig onto the player’s rig. Not all of the animations were passed on because they didn’t fit the aesthetic of the game (this stage was early on, and the aesthetic was still being hashed out).
For the main character of Scrap, I made the animations expressive and clearly discernible from a distance while simultaneously ensuring that I did not venture too far into something overly stylized or fantastical.
You may notice that for many of these animations the legs are rather static. This is because in engine, we’re using Animation Montages to mask out the parts of the body that we need.
This rig utilizes an IK/FK switch for its limbs, thus allowing the animator to have direct control of the legs movements. I made this decision because the explosion animation (made by Alina Alikhanyan) involved of twitching, erratic motions. The controls are set up in such a way to easily create overlapping motion.
Below is the spider enemy’s idle animation. Being the only non bipedal enemy in the game, I wanted this enemy’s behavior to have be more akin to that of an animal. The idle animation wasn’t influenced by a spider at all. Rather, it was influenced by a newborn fawn (the walk cycle was directed with this same inspiration) looking around its world.
Inspired from a 50s style jukebox and an anti-personal land mine. The original mesh was 3638 polys and I got it down to 612 through retropologizing techniques. I used Substance for the texture work and Maya for the mesh. I also utilized a color map in substance for cleanliness and a smooth workflow.
A flamethrower that uses two, count ’em, two tanks of propane to melt your foes to ash. Used 3dCoat. 429 Polys.
The guns in Scrap, given that it is a topdown game, did not need to have much detail on them, but they did have to be readable at a distance. I chose a slightly dark shade of green so that it would contrast the arid landscape. I utilized and edited 3dCoat’s smart materials which allowed me to make quick alterations.
Lighting/Post Processing Effects
Scrap takes place in an arid wasteland- thus it’s incredibly hot and dry. To reflect this sense of heat I created a very warm, low contrast, tinted look up texture in Photoshop and used it for color grading inside of Unreal. In addition to the color grading, I also used a slight bloom, a warm temperature on the main directional light, and a slight yellow tint for global illumination and scene color.