Anna Brodine - Environmental Artist

Post Mortem

The Shocker Studios project 'Wroughted Iron' was made with the intention of giving the Game Design 3 students the opportunity to learn what happens behind the scenes of games, and how to produce them efficiently. On this project, I worked as an Environmental Artist on the art team. This post-mortem evaluates what I learned, what was successful, and what I would do next time.

What I Learned

1. How the pipeline functions: If you had asked me at the beginning of this semester how well I understood the game design pipeline, I would have told you that I could execute it averagely. If you asked me that question now, I would tell you I have a lot to learn and practice.  Early on, I underestimated the complexities involved in coordinating different stages of development, from concept to production, and how each phase relies heavily on the efficiency and accuracy of the one before it. I faced several challenges, mainly in the area of being asked to produce something that I could not because I was waiting on something else to be done for me. If I had taken a step back within the project, I would have learned very quickly that all of those self-caused issues I ran into could have been if I had communicated what I needed. I could also have learned much easier what other people needed help with, as well as where we were lacking and succeeding in our goals. Going forward, I plan to implement better team meetings that allow us to further understand what everybody needs, and where you can find help. Even though I have a lot to learn still, the knowledge I have gained about the pipeline process can help me streamline the process and minimize the setbacks faces on the next project I work on, creating a more efficient path from concept to finished product. 

1. The importance of communicating with other disciplines: I’ve come to realize that effective communication with other disciplines in game design—art, programming, sound, and narrative—is absolutely vital for a successful project. Early in my experience, I found that miscommunication between disciplines led to inconsistent design and conflicting priorities. The challenges that I faced often resulted in frustrations and realizations that each discipline had a different understanding of the project priorities. Moving forward, I plan to improve cross-disciplinary communication by establishing regular sync-up meetings to discuss progress, identify roadblocks, and ensure all teams are aligned on the finish product vision. I will also prioritize creating shared documentation and clear communication channels where all disciplines can contribute feedback and raise concerns in real time. And not just "art team meet up with art team," but large group meetings where everything can be discussed and talked about. By fostering stronger collaboration and transparency across teams, I believe we can reduce friction and deliver a more cohesive, polished game.

2. The value of knowing what other artists are doing: I’ve learned that understanding what other artists are working on in game design is invaluable for ensuring visual cohesion and creating a unified aesthetic. Early on, I focused primarily on my own tasks without fully considering how my designs interacted with those of other artists, which led to inconsistencies in style, lighting, and overall visual flow. For example, when texturing the final boss, the Juggernaut, I felt very frustrated because I could not find a direction to go in with my design. When I took a step back, I realized the mistake I made. I had continued to work on a model/texture that I had a lack of knowledge on how and where it would be used. Once I talked to the other artist and level designers, I was able to make much better directional creative decision that made me feel better about my work. Going forward, I plan to improve this by engaging in regular design reviews and maintaining open channels of communication with other artists throughout the process. By sharing progress and providing constructive feedback to one another, we can ensure that all elements align with the overall artistic vision and create a more seamless, immersive world. Additionally, I would develop shared style guides and asset libraries to ensure consistency and efficiency across the team.

What Was Most Surprising

1. Scope: When we first began the game project, I envisioned a much larger scope, both in terms of the world-building and the complexity of the assets required. However, as development unfolded, I was surprised to realize that the project’s scale was far smaller than I had anticipated, and not in a bad way. In all honesty, a lot of my anxiety around the project resided in it's scope, but when the project was laid out among the teams, I realized how the work was to be split up. The environments, characters, and overall gameplay were more streamlined than I had imagined, with fewer locations and assets to create than I originally thought. This shift in scope led to a more focused design, but it also caught me off guard, as I had been preparing for a much broader and more intricate project.

   
   

   • Impact: As a texture artist, the reduced scope had a significant impact on my progress. Initially, I had prepared to tackle a wide variety of complex textures for different environments and characters, expecting a diverse range of visual styles. However, with the smaller scale, I found myself needing to create fewer, more polished textures, which allowed me to refine my skills in detail and consistency. While it was a bit of an adjustment at first, this shift ultimately allowed me to spend more time on perfecting the textures for each asset, rather than spreading my efforts across a larger volume of work. The focused approach also made it easier to ensure that the textures aligned with the cohesive aesthetic of the game, but it did take some time to adjust my workflow to match the new, more manageable scope.

2. Using your voice: I was genuinely surprised by how much I needed to speak up about things. Initially, I thought my role would be more technical and hands-off, with my focus mainly on executing the art direction provided. However, as the project progressed, I found myself regularly contributing ideas, discussing design choices, and helping shape the visual language of the game. Whether it was offering feedback on environment designs or brainstorming how textures could enhance storytelling, my opinions were valued more than I expected. It felt like a collaborative effort, where my input directly influenced key aspects of the game's visual identity.

   • Impact: This increased involvement in the creative process significantly impacted my progress as a texture artist. With my opinions actively shaping the art direction, I had to develop a deeper understanding of the game’s narrative, tone, and atmosphere. This meant not just focusing on technical aspects like resolution and texture mapping, but also thinking about how my work could emotionally resonate with players. I had to push beyond just creating realistic or functional textures and begin thinking about the story and feeling behind each material. This shift in responsibility sharpened my critical thinking and design skills, as I now had to align my work more closely with the game’s evolving vision and contribute to its overall artistic integrity.

My Greatest Achievements

• My confidence: The confidence I gained throughout the production of this game has undoubtedly become one of my greatest achievements as an environmental artist. At the start of the project, I was unsure about my ability to create environments that not only met the technical requirements but also conveyed the intended mood and storytelling elements. However, as I contributed more to the development process, making key decisions on textures and artistic direction, I began to trust my instincts and creative judgment. With each completed texture, I felt a growing sense of ownership and pride in my work, which helped my confidence in tackling more complex challenges. This experience taught me to take risks, push my boundaries, and speak up about my artistic vision, making me feel much more secure in my abilities to shape virtual worlds with purpose and clarity. The growth in my confidence is slowing growing, and I am excited to take this into my career past Shocker Studios. 

• Learning where I fall in the process: One of my greatest achievements as an environmental artist is gaining a more clear understanding of where I fall in the game design pipeline. Early in my career, it was easy to feel disconnected from the broader scope of game development, as my focus was mostly on creating assets in isolation. However, over time, I gained a deeper understanding of how my work as an environmental artist fits into the larger process of world-building, gameplay, and narrative design. This knowledge has empowered me to better collaborate with other departments, such as level design, lighting, and programming, allowing me to anticipate needs and align my work with the overall vision of the game. By understanding my role in the pipeline, I can prioritize tasks more effectively, communicate more clearly, and contribute more meaningfully to the game's development. This sense of clarity has not only made me more efficient but has also given me a stronger sense of purpose in my work, making it one of the most rewarding milestones in my artistic growth.

Contributions

• Textures: All conveyor belts, Generator, Robot arm, Beam pickup gun, Spiderbot Drop, Juggernaut.

Recommendations for Future Projects

• Clear communication: Clear communication is a recommendation I’m bringing to future projects because it has proven to be crucial in ensuring smooth collaboration and alignment across teams. During this project, I realized how essential it is to share ideas, feedback, and expectations early and often. Misunderstandings or gaps in communication can lead to wasted time, misaligned assets, or unnecessary revisions. By fostering an environment where open dialogue is encouraged, I believe we can streamline workflows, avoid errors, and ensure that everyone is working towards the same creative vision. Clear communication will not only enhance efficiency but also improve the overall quality of the final product.
• Improved meetings: Improved meetings are a recommendation I’m bringing to future projects because they can significantly enhance productivity and clarity. In this project, I noticed that sometimes meetings could have been more focused or structured, which led to confusion or delayed decisions. By setting clear agendas, sticking to key topics, and allowing everyone to speak, meetings could be more efficient and actionable. Better meetings would ensure that all team members are aligned, that issues are addressed promptly, and that we maximize the value of our collaborative time. This would help keep projects on track and reduce unnecessary back-and-forth.
• More comprehensive planning phase: A more comprehensive planning phase is a recommendation I’m bringing to future projects because it lays a stronger foundation for the entire development process. In this project, we encountered moments where clearer initial planning could have helped us avoid roadblocks or unexpected changes later on. By investing more time upfront to define the scope, set realistic timelines, and outline clear milestones, we could have streamlined the workflow and minimized confusion. A thorough planning phase would not only enhance organization but also help identify potential risks early, ensuring smoother execution and better alignment across all departments throughout the project.
  

Conclusion

In conclusion, 'Wroughted Iron' taught me more about genuine game design than many of my other courses have taught me. While in class lecture information is extremely important, having real-life experience was truly valuable, and more importantly, helped me grow as an artist and game designer. Out of everything I learned on this project, one thing I'm leaving with is more important than anything else - genuine excitement, passion, and confidence in my future as a game designer. Without a doubt, I can leave this project with the knowledge that I am capable of growth, and capable of amazing products.