RIDE TO HELL: RETRIBUTION - PROFESSIONAL WORK

Program's Used: Unreal Engine / 3DS Max / Zbrush / Photoshop / NDO / Various In-House Tools

About: I worked for approximately two years as part of the Eutechnyx UK Art Team on Ride To Hell: Retribution published by Koch Media. Below you can see a collection of some of the levels and assets that I had the most involment in. My role over the two years evoled from Senior Environment Artist to Lead Level Designer while still continuing with some of my Environment Art duties. This was mainly due to the loss of several key Level Designers from the project and my broad knowledge of Unreal Engine.

DEAD END

Dead End: Dead End is the main 'Hub / Home Town' in Ride To Hell where the player returns often to accept missions. I was responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - Joint vision holder of the level along with Adam Dudley
     - Created the two main gameplay buildings (Oswalds Garage & Lost Horseshoe Bar)
     - 75% of the asset placement
     - 90% of the shader creation
     - All particles within the level
     - All visual effects relating to the windy look of the level (Cloth banners & parasols)
     - All lighting & post effects
     - All optimisations in order to make the level run at 30 FPS on PS3
     - Provided feedback on nearly all of the assets

Dead End

Dead End

Dead End

Dead End

SAWMILL

Sawmill: The Sawmill exterior is quite a large on foot mission and it was the first level that I was responsible for when I became Level Designer. The level features a couple of unique gameplay elements that were fully scripted by me using Kismet. One of these elements is a elavator that the player has to ascend while trying to keep enemies off the pressure pad that would bring the lift back down. I was also responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - The design and general flow of the level
     - All kismet scripting within the level (Gameplay // Checkpoint Setup // Cutscene Setup // Environmental)
     - 90% of the particles within the scene
     - Created a selection of small generic assets which are used in all levels
     - Provided constant feedback on the level which helped shape the final look
     - Provided outsource artists with feedback on most assets within the level
     - Setup 75% - 90% of all shaders


Sawmill

Sawmill

Sawmill

Sawmill

SEVENWELLS RANCH

Sevenwells Ranch: This level was the first level that was created for Ride to Hell and it acted as a benchmark for the quality of the rest of the levels. I was the first artist on this project and ended up the designing the flow of the level and producing a whitebox of the level ready for art production to begin. I was also responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - 75% of all kismet scripting within the level (Gameplay // Checkpoint Setup // Cutscene Setup // Environmental)
     - 25% - 50% of all asset placement
     - Modelled and textured all interior rooms within the ranch house (Assets & Decals by other artists)
     - Provided outsource artist with feedback on nearly all assets within the level
     - 75% - 90% of all shader setups
     - All particles within the level

Sevenwells Ranch

Sevenwells Ranch

Sevenwells Ranch

Sevenwells Ranch

Sevenwells Ranch

MOTEL ROOM

Motel Room: The motel room was produced for a few cutscene that take place throughout the game. I was responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - All lighting and color grading
     - All asset placement
     - All final polish
     - Provided outsource artists with feedback on nearly all assets within the level
     - All shader setups
     

Motel Room

LOST VALLEY CITY

Lost Valley City: This level is a large on foot mission that was designed by me. In my opinion this is one of my favourite levels as the deadline was abit more lenient and therefore we were able to add abit more quality. I was responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - The design and general flow of the level
     - All kismet scripting within the level (Gameplay // Checkpoint Setup // Cutscene Setup // Environmental)
     - 90% of all particles within the scene including the heavily featured fire particle
     - Created a selection of small generic assets which are used in all levels
     - Provided constant feedback on the level which helped shape the final look
     - Provided outsource artists with feedback on most assets within the level
     - Setup 75% - 90% of all shaders
     

Lost Valley City

Lost Valley City

BASEBALL STADIUM

Baseball Stadium: This level is the last on foot mission of the game. I was responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - Worked with Adam Dudley and collaborated on the design and general flow of the level
     - All kismet scripting within the level (Gameplay // Checkpoint Setup // Cutscene Setup // Environmental)
     - All particles within the level
     - Created placeholder cutscenes until the final cutscenes were added
     - Provided constant feedback on the level which helped shape the final look
     - Provided outsource artists with feedback on most assets within the level
     - Setup 75% - 90% of all shaders
     - Created a selection of small generic assets which are used in all levels

Baseball Stadium

Baseball Stadium

SAN ALFONSO

San Alfonso: This level was the last level of the game to be produced. I designed the level via various 2D & 3D maps but unfortunatly due to time constraints I had to let a fellow artist produce the whitebox for the level. I was also responsible for the following tasks within the level (Anything not stated was done by other Eutechnyx UK & Hong Kong employeees):

     - The design and general flow of the level
     - All kismet scripting within the level (Gameplay // Checkpoint Setup // Cutscene Setup // Environmental)
     - All particles within the level
     - Created placeholder cutscenes until the final cutscenes were added
     - Provided constant feedback on the level which helped shape the final look
     - Provided outsource artists with feedback on most assets within the level
     - Setup 75% - 90% of all shaders
     - Created a selection of small generic assets which are used in all levels

San Alfonso

San Alfonso

BACK

All Artwork Copyright © Neil Gowland 2013 Except Where Indicated Otherwise. No Image On The Website May Be Reproduced Without Express Permission.