SENTINEL - The Drop Zone (Level Art/Design)
As part of the team’s new paradigm of using procedural content generation (PCG) to connect levels, we needed a starting zone where players could gather loot, weapons, and hazards to bring into missions. To achieve this, we conceptualized a variety of potential spawn areas that evoke the feeling of a space Viking preparing to storm a fortress—this level is one such example. Players spawn at a significant distance from the castle-like base entrance and are given full agency in how they choose to proceed. They can travel by vehicle or on foot, scavenge for supplies or rely solely on what they brought. Whether they prefer a direct assault, a stealthy infiltration, or a strategic ambush, the level is designed to support a wide range of playstyles—ensuring player choice is at the core of the experience.
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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 - Approaching from the rear entrance is the safest and stealthiest option, but also the most time-consuming. If the player is spotted, they lose the element of surprise—turning the encounter into a difficult fight, as the path offers limited defense.
ART - If the player chooses a direct assault on the base, they’ll face the heaviest resistance and encounter a difficult choke point with limited flanking options. However, this route offers near-immediate access to the base’s entrance.
ART - The path to the high ground is mostly clear of enemies, giving players the chance to secure a dominant vantage point. From there, they can unleash powerful attacks from above—gaining a significant tactical advantage in exchange for set up time.
ART - To access the underground base, the player must first locate and activate the front doors via a console. This console is in one of several potential locations, but is identifiable by its bright display screen and typically on elevated ground.
DESIGN - While the map covers a large area, players have access to a Puma vehicle near the spawn point for faster traversal. Along the way, they can collect loot, with combat encounters becoming increasingly dense as they approach the base entrance.
WIP ART - Partial Architecture Kit modeled and textured by Jake White and myself. Materials and shaders were created by me. The colors, lights, and materials are customizable based on the Mission Parameters and PCG.
CONCEPT - Created by Matthew Griffith.
CONCEPT - The Architecture Kit was designed as a modular set for quickly assembling bases in a post-apocalyptic setting using inexpensive, prefab modular pieces. Its silhouette evokes the feeling of a Viking assaulting a fortified castle.
WIP TRAILER - Was never completed.