Slayaway Camp 2: Netflix & Kill
On this game I created a majority of the environment art, including: the obstacles (such as canoe, woodstove); non-obstacle decorations (books, bottles); mechanic objects (teleporter, button); ground tiles (sand, wood); atlas texture (a material shared by most assets); and bespoke ground and mechanic object materials. I also lit, decorated, and added VFX to every level using Unity and Tiled, and set up every minigame prefab including 5 camera angles for each one.
Biomes were buckets of mix-and-match assets: the canoe was from the Camp biome but fit with the Beach assets. Dead whale by Jessi Ross.
Prison Bake, one of the game’s earliest BIG levels. The first area is an outdoor courtyard.
Weather effects by Jessi Ross helped sell this overgrown and dilapidated Cabin.
For Prison Bake screen 2 the environment transitions into the prison yard, where we opted for boot camp/obstacle course assets.
I was especially excited to get the different tilesets just offset from each other, allowing them to have organic edges even when combined.
Prison Bake screen 4, mixing in assets from the City biome to make a parking lot for the Prison.
Minigames randomly cycled between multiple cameras so the backgrounds had to be set up to be interesting and legible from various perspectives, all without obscuring the characters. I was responsible for setting up all 8 of these backgrounds and their cameras.
3 angles from the Don’t Laugh minigame. The premise was a birthday clown turned killer.
3 angles from the Fearleader minigame. I gave the premise for this killer! The original idea was “But I’m a Cheerleader but the lead fights back,” final direction was evil cheerleader to give her the fun horned headband.
A Monster’s Expedition
Under the art direction of Adam DeGrandis, I created key exhibits for this museum puzzler. Adam was responsible for the modular terrain tiles, lighting and water shaders, but he showed me his process and gave me the opportunity to poke around to understand how they worked.
Selected props from A Monster’s Expedition.
Assorted Environments and Props
A mint green van, modeled using Blender and textured with Substance Painter.
At Left: Wireframe over base color. At Right: Height, Metallic, Roughness, and Normal maps.
Low-poly tuktuk.
Sculpture Gallery from The Zium Gallery (2022). Quinn created the modular environments and materials.
Backstage of The Zium Gallery (2022).
Bedroom and plants for the game healing.
Modular environment for Am I Better as an Abstract Concept? A library where patrons may not directly access the books.
The grille librarians speak through; the rolodex that serves as catalogue.
Knight Tails
On this game I was responsible for modeling a new character mesh; creating 3 different handpainted skin textures (solid, tuxedo, and striped cat patterns); modeling and texturing 4 interchangeable hairstyles; plus painting expression sprite sheets with 4 unique eye styles (each with a 4-frame blink animation) and unique mouth shapes/expressions. I was also tasked with adapting existing apparel to fit the new model, which included some re-modeling and re-texturing.
Character and eye textures were all natively greyscale and utilized vertex colors and a shader to apply different hues in the Unity engine.
Felid model and outfits. Felid model and textures entirely by Quinn, outfit models and textures in collaboration with Rob Bednarek.
Substance Painter
Simple alien plant with berries in Unreal4. Made with Maya, Photoshop, and Substance Painter.
Ghibli inspired mossy stone toad.
Stylized grindstone. Model by Aartee.
Bone sword. Model by soidev.
Axe. Model by zhixson, based on concept art by Becca Hallstedt.
