Inside Cyberline Racing: Rusty Captain

Hello Guys

My name is Sergey and I oversee the development of 3D art in Cyberline. In this post we’d like to tell you about one of the main aspects of our game – the cars. Without further ado, allow me to introduce our first character – the Rusty Captain!

RustyCap_concept

Character story

A mentally deranged security guard at a dreary car dump, he drives a rusty bucket of bolts. Signed up for the show out of the extreme boredom on his day job.
The Rusty Captain is a medium height, unshaven type. While not overweight, he sports a beer gut which he nurses with affection. Clad in a stylish wife beater covered in rust and motor oil, he sports a head of dark red hair under a vintage 1920s racing cap, complemented by a set of racing goggles from the same era. A pair of blocky boots and denim overalls complete the picture.
His special weapon is a crude contraption that uses a circular saw to create powerful sound waves that damage enemies and slow them down.

Car development

We also thought that it might be interesting to share with you some of the backstage development process. The following points describe the process of bringing our cars from an idea to a complete in-game model.

Concept

Once we decide on the background story for a character and their car, our concept artists begin sketching out a large number of tentative drawings to find the right visual solution. This process is usually the most important one because it determines the general impression and the overall look of the car, thus at this stage artists devote a lot of effort to finding the exact outline of the car and the right proportions, so we can come up with a really strong look of the car.

3D Modeling

Once we’re satisfied with the main concept and line drawings, all this 2D stuff goes to a 3D artist who starts bringing the images into the 3-dimensional space and making high-polygon and low-polygon count models. After some time we end up with something like this.

Highpoly_beauty

Texturing, final setup

After the high-poly and low-poly models are done, our texture artist starts drawing over the bare model and giving it a final look. This process usually involves several main steps: developing the color scheme, choosing the right textures and materials, setting up reflections to bring out the shine in the right places, as well as adding all the scratches, specks, and other small but important details. After several days of struggling with texture sheets and material options, we get the following result.

Lowpoly_beauty

 

Turntable video

 

 

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