SENTINEL - MVP INRF Base (Level Art/Design)
As we were working on wrapping up production on the MVP level for Sentinel, the team split to explore what another level in the same universe could look like. In this mission, the player crash-lands after being shot down and must infiltrate a human base now occupied by enemy forces. Entering undetected, the player works to open the gates from within—triggering a dramatic cavalry assault as marines flood the courtyard, leading to a large-scale firefight to reclaim the base. The goal was to create a more heavily scripted level compared to the previous one, showcasing a different type of mission within the Sentinel universe. The goal of the space was to create the feeling of being a Viking invading a sci-fi castle-style base.
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GAME DESCRIPTION: Sentinel is a sci-fi PvE first-person extraction shooter that emphasizes straightforward movement, sandbox interaction, and tightly crafted level design—eschewing ability-based combat and cover shooting in favor of raw, responsive gameplay. Set in a post-apocalyptic future, you play as a Varangian—a Nordic-inspired, augmented space mercenary—offering your strength to the remnants of humanity… for a price. Scavenge like a Survivor. Build like a Space Marine. Fight like a Viking.
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MY ROLE: As Creative Lead, I was responsible for providing both artistic and creative direction while overseeing the overall production process. In addition to managerial duties, my core in-engine focus was level development—balancing both level design and level art duties and leading others where appropriate. I also contributed across disciplines as needed, including 3D modeling, gameplay and event scripting, combat encounter design, texture and shader development, and animation.
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CREDITS: Alberto Panico, Alex Wright, Antonio Gil, Daedra Christopher, Danny Jundi, Davis Zekthi, Elia Sheikh-Bahaie, Eric Lipshutz, Erik Flood, Grif Wu, Jaden Nance, Jake White, Joshua Thornhill, Justice McClellan, Kaleb Nekumanesh, Kat Peterson, Matthew Griffith, Matthew Hodge, Matthew Stone, Mike Tilden, Mitchell Broom, Nick Price, Rachel Clark, Steven Atha, Tyler Harper, Victoria Pennington.
ART - Final screenshot showcasing the player’s approach to the base from the surrounding forest. In the distance, the enemy gun that shot down the player is revealed—establishing a clear objective and narrative payoff as they draw closer.
DESIGN - Blockout version of the screenshot above. The initial approach to the base featured trench systems, but these were later replaced with natural rock formations to better fit the environment and improve visual cohesion.
ART - Final screenshot showcasing the courtyard. The composition is designed to guide the player’s eye to the right, where the enemy forces and allied convoy are positioned, setting up the primary direction for the encounter.
DESIGN - Blockout version of the screenshot above. The layout features long sight lines and enemy placements surrounding the player, with limited cover confined to the courtyard’s edges and center—intentionally designed to encourage constant movement.
DESIGN WIP - Timelapse showcasing the blockout creation process. Skip to 3:16 to view a full walkthrough of the finalized blockout—without enemies or scripting—in place.
DESIGN - For the second level in the demo, I drew inspiration from World War II trench warfare and base invasion scenarios, aiming to capture the tension and tactical pacing of those historic confrontations within a sci-fi setting.
ART - The final art pass based on the previous design screenshot. Several elements were revised to better support gameplay, including the addition of three objectives in the courtyard that must be completed before the mission concludes.
ART - Screenshot of the base courtyard interior, highlighting the entry point where the convoy arrives and joins the combat encounter.
ART - Screenshot of the base courtyard interior, focusing on the area where the player engages in combat before escaping to the upper section.
ART - Screenshot of the forest area. Gel pods make a return, serving both as a light source to guide the player and as a narrative device—hinting at the enemy’s presence and their role in planting these organic structures.
ART - Final screenshot showing the crash site where the player begins. This non-combat starting area focuses on environmental storytelling and includes a few narrative collectibles to set the tone for the mission ahead.
ART - Final screenshot showcasing the interior of the base. We frequently used saturated lighting—particularly reds and yellows from the human color palette—to guide the player’s eye and subtly direct navigation.