Marvel Deadpool VR - Yashida Level

As Project Art Director, my contributions included -
Defining setting locations, leading concept creation, contributing concepts/paintovers, providing style guides, prototypes, and creative vision and approval for art work produced by our internal art teams and external outsourcing partners. I worked directly with Creative Director and Game Director as well as Marvel IP holders to ensure my creative vision upheld brand expectations and quality.

One of the unique challenges for this game (and all VR Games) is the requirement to render the scene twice - one for each VR lens. This means performance is crucial, while also balancing visual fidelity. For Deadpool VR, we made the decision to embrace the Comic Book - like stylization of the characters and environments. In order to maintain the complexity of gameplay , number of characters in scene, and fast paced action oriented experience, we targeted more affordable rendering techniques for our artwork. Specifically, there are no normal maps or roughness/specular maps at all in the game. Instead, we baked down lighting information into single diffuse textures, derived from a high poly to low poly workflow in substance painter. The results bring a lot of the high quality detail of the high resolution model to the final in-game model, without the added burden of expensive shader calculations on the VR renderer. In the end, I'm proud of the work our team did to make such a rich and visually detailed game without these standard benefits of normal maps and roughness.

The actual assets, 3d models, textures, lighting, UI, vfx, and animations were all created by our amazing team of artists at Twisted Pixel Games.

This collection of screenshots is from the "Yashida Compound" Level- where Deadpool must locate and fight Lady Deathstrike and "The Hand" ninjas.