Quinn Spence

Teenage Mutant Ninja Turtles: Tactical Takedown

Strange Scaffold

TMNT: TT is composed of very low poly models that were textured using Substance Painter to bake in lighting and base colors, with final details painted in Photoshop. This aesthetic was stylized but was still meant to connect to the real world.

A video game level of a city street with a car, dumpster, and scaffolding. A ninja turtle us in the center, kicking away one of many enemy ninjas. — An in-game level from the Streets biome.

19 low poly props including a hydrant, mail box, cars, street lights trash receptacles, a tree, and generic street and business signs. — Selected environment assets from TMNT:TT.

A reverse angle of the previous level. This time the turtle spins at the center of a crowd of enemies.. — A different angle on the same level.

11 more props including a wooden bench, several rocks, 3 different pillars, and chunks of buildings. — More environment assets from TMNT:TT. Building chunks made in collaboration with Eli (aka coal bones).

Take Us North

Anima Interactive

For this upcoming game, I created low-mid poly models that were textured using an atlas texture and lit with custom shaders in-engine. I was also responsible for creating much of the business signs and vegetation, plus decorating the levels in-engine. Images are from the intro level, which multiple other artists contributed to via characters and animation, environment modeling, sign text, lighting, and set dressing, including Enier Art, Santiago Franzani, Santiago Moreno, and Daniel Villagran.

An in-engine level of a bustling and colorful Mexican marketplace. It is bright, colorful, and filled with shoppers and market stalls. — Stepping into the market scene. I created the hotel sign, planter and stool models, and arranged the left side store front.

A market with colorful stone tiles, framed by a fountain at the left and a cathedral in the distance. It's lined with stalls where vendors sell sombreros, pottery, clothing, and good. — In the middle of the market. I created the dental clinic sign, sombreros, ukuleles, and pottery, coached a junior artist on creating the baskets and produce assets, and I arranged the left-hand and right-hand vendor stalls.

3D models of a moped, a plastic chair, a large potted plant, 2 plastic stools, a hat, a doll, clay jars, and a ukulele. — Selected environment assets I made for Take Us North.

Exiting the market, the back of a trailer at the left side, a motel in the center, and a parking lot to the right. — Transitioning out of the market. I created the motel sign, modeled the chair, stool, potted plants, and moped, and collaborated with other artists to arrange the props seen here.

A moped and chair models shown from the front right and back left with visible wireframes overlaid. — Wireframes for the more complex assets.

Slayaway Camp 2: Netflix & Kill

Blue Wizard

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 hand-painted mechanic object and tiling ground 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. Characters by Adam DeGrandis and Eric von Berner.

Three screenshots showing different levels from the game Slayaway Camp 2. At left is a sunny beach, at center a creepy cabin, and at right an icy laboratory. — Biomes were buckets of mix-and-match assets grouped by general themes. I was especially excited to get the different tilesets just offset from each other, allowing them to have organic edges even when combined. Dead whale and weather effects by Jessi Ross.

Three screenshots from a mega level in the game Slayaway Camp 2. At left is a cement prison courtyard, at center a muddy obstacle course, and at right a mine filled parking lot. — Prison Bake, one of the game’s earliest BIG levels. The first area is an outdoor courtyard. For screen 2 the environment transitions into the prison yard, where I opted for boot camp/obstacle course assets. On screen 4, I mixed 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 is out for blood,” final direction was evil cheerleader to give her the fun horned headband.

A Monster’s Expedition

Draknek & Friends

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.

A double bed on a large, low plinth is barred by stanchions. It is on a sunny island in a green sea.

A pigeon sits on a snowy plinth with a touch screen cell phone.

A golden orrery on a yellow grassy island. A little monster sits on the shore.

Selected props from *A Monster’s Expedition*.

Knight Tails

Team Cat

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. For most assets, the texture base lighting and color were done in Substance Painter with details handpainted in Photoshop.