It’s week seventeen and our deadline is at 10pm today. The room is full of people calmly tweaking decals, editing music and packaging projects. We have made it to the end!
The final details…
I remade the HUDs as they were set up in the old, fake level. To do this, I merely shifted the level blueprint from the old level to the copy of the updated main level.
At a later date on my ArtStation, I’ll share my blueprint for how I made the start screens, but the basic premise is that they are set up in a fake level that’s a copy of the real one.
In that level, I set dress a corner of the world that will act as the background, so a little chromatic aberration, bloom and noise, some decals like the blood and well placed props.
The first HUD is the title screen, and once you click the ‘Enter’ button, it brings up the loading screen. A nice trick here is that it will load up the real scene on its own after ten seconds. In the meantime, I whipped up a couple of graphics to show how you control the game.
After these two, the real scene loads. The final HUD is a simple location in the bottom left, inspired by a movie trope, as we didn’t want to have too much story text as the radio announcer does most of it for us. Also, I really, really don’t like text on the screen as it’s off putting and nobody ever reads it anyway – we just needed to set the time and location!
Hattie made some terrain alphas to be used for the vista from the balcony window. There are three with hills and trees, and one smaller with just trees, which can be used to fill in gaps if need be. This nicely fills our empty horizon line and gives context to the setting.
She also made a few dirty decal splotches to break up the ceiling texture and made a decal for the names scratched into the pews, a nice narrative Easter egg. Finally, she raised the height and adjusted the roughness of the pentagram blood so it looks more thick and grossly juicy.
Hattie also added a little detail to the main cross with this carved, wooden plait across the surface of the crucifix.