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Devlog #4 - The Evolution of the Mech

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[h2]Introduction Chat[/h2]

Greetings, Rookies! I'm Mikail from the BIG SHOTS® team, and I'm excited to welcome you to the fourth edition of our BIG SHOTS® Devlog, dated 03-21! Today, we're excited to share an inside look into the artistic evolution of BIG SHOTS®, shedding light on our creative process.

In this fourth entry, we're focusing on the initial concept sketches to the latest iterations, as we've worked hard to refine and perfect our vision. We'll explore our mech design's transformative journey, highlighting the important changes and innovations that have shaped its current form. Expect the inspiration behind our designs, the challenges we've faced, and the breakthroughs that have pushed us forward.

So, without further ado, let's dive into the artistic evolution of BIG SHOTS® and uncover the story behind the mechs that have become the heart and soul of our game.


[h2]The Mech Evolution in Big Shots[/h2]
From the beginning of our development journey, we've gone through various visual iterations, shaping and reshaping some of our core assets. Today, let's delve into the captivating evolution of the mech.

In the early days of preproduction, our mech wish list was clear and concise:

1. Focus on Accessibility: We aimed for a user-friendly mechanical design, ensuring accessibility was at the forefront.
2. Natural Vignette for Movement: Seeking a seamless experience, we envisioned a natural vignette that seamlessly complements movement within the game.
3. A Sense of Scale: Our goal was to make players feel monumental in the vast world we were creating.
4. Tough and Solid Aesthetic: We craved a mech that exuded toughness and solidity, a visual testament to its resilience.
5. Expandability Options: With an eye on the future, we wanted our mech to offer numerous possibilities for expansion and customization.
6. Versatility for Weapons: Given the gameplay dynamics, we decided on a range of weapons for the mech—both long and short-range.

While we initially dreamed of incorporating melee attacks (which you can see in many early concepts), the reality check hit. Physics and IK didn't quite sync up with the tech of the time and didn't align with the gameplay we envisioned. It was a tough call, but we opted against it, knowing that, in the end, it wouldn't have added the desired punch to our game.




The old mech served us well initially, but as development unfolded, so did the understanding of its limitations.

Limitations of the Original Design:

1. Flexibility Challenges: The original design hit a roadblock regarding flexibility. It didn't offer the adaptability we needed for continuous improvement.
2. Issues with IK (Inverse Kinematics): The mech's Inverse Kinematics, particularly in the arms, posed a challenge. Achieving a 1:1 synchronization with the player's arms wasn't playing out as smoothly as we'd hoped.
3. Lacking Human Element: One realization was that the mech needed a more human touch. We wanted players to feel like a person was inside, adding a layer of relatability to the mechanical giant.
4. Infusing a Worker Vibe: Shifting gears in our vision, we sought to inject a distinct worker vibe into the mech's aesthetic, aligning it with the overarching theme.
5. Illuminating Darker Levels: Recognizing the need for versatility, we envisioned lights atop the mech, keeping the option open for future levels that could be darker.

As our artistic vision evolved, it became apparent that the original design needed a revamp to better mesh with our art style's newest vibe and overcome the practical challenges we encountered during development.



While these concepts were being made, certain elements stood out to all of us. It was like a collective "aha" moment for every part that we would need, eventually leading us to the glorious Mech we have today. These favored components came together, shaping our current powerhouse of a Mech. It's a testament to the collaborative journey, where each iteration contributed to the evolution of a mech worthy of becoming a Big Shot!



[h2]Mech 3.0[/h2]

With the redesign, not only did the Mech gain the physical presence we desired, but the introduction of new weapons also made much more sense in design. It was like finding the missing pieces of a puzzle that brought the Mech to a new level of functionality and badassery.

Moreover, we tackled the Inverse Kinematics (IK) challenge head-on. The result? Vast improvements. The Mech's arms now sync up much more seamlessly with the player's arms, achieving that coveted 1:1 connection we strived for. It's incredible how these tweaks and refinements transformed the Mech into the powerhouse it is today in terms of aesthetics and functionality.

[h2]Final[/h2]
This concludes today’s edition of our Big Shots Dev Blog. We will continue working hard on BIG SHOTS®

-Mikail, signing out

https://store.steampowered.com/app/2666530/BIG_SHOTS/

Follow us on our socials: Gear up, team up, and exterminate! The Big Shots Team


ATTENTION🚨 BIG SHOTS® Steam community members!

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Attention Rookies,

We are excited to announce that the BIG SHOTS® release date trailer is finally revealed on our YouTube channel. This trailer will give you a sneak peek into the chaos, mechs, and relentless battle against alien hordes you can expect from the game.

To find the release date, watch the video linked above.

Mark your calendars and join us on Steam for the unveiling. Be sure to wishlist to stay in the loop and ensure you're amongst the first to experience the excitement!

At launch, BIG SHOTS® will be released on PSVR2, Meta Quest, Steam VR, and SideQuest.

Get ‘em Rookies! 🎮🤖

So, what are you waiting for? Wishlist the game today! https://store.steampowered.com/app/2666530/BIG_SHOTS/

Follow us on our socials: Gear up, team up, and exterminate! The Big Shots Team

Devlog #3 - Bugs, Extermination and Toothbrushes

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Hello Rookies!

This week, we want to talk about the main characters of BIG SHOTS (after you, of course): bugs.

[h2]The Grunt[/h2]
When creating BigShots, we had a vision, Big Mechs and Big Guns, a fun game where the player can feel powerful. However, there is no way for the player to feel powerful if they aren't doing anything with those Big Guns. Enter the Grunt. The grunt was our first enemy, a perfect tool to make the player feel powerful.
[h3]Crawling[/h3]
Most wave shooters opt for a simple enemy like a zombie from Call of Duty. We wanted to do something different, and when the idea of an extermination was flung around, we knew exactly what to do. And so, the Grunt came to life in the form of a bug, a nasty little bug that you, as the player, have to exterminate, and what better way to make the Grunt feel like a bug was to make them crawl?

Most of us don't like bugs; they are tiny and dirty and can crawl on everything from floors to walls to ceiling to your toothbrush or bed. Making the Grunt crawl gave them a nasty feeling, and killing these ugly bugs can make the player feel even better.

None of the publicly available pathfinding and navmesh solutions supported our idea, so we set out to make a custom navmesh solution. We used the A* as a base for our pathfinding, but the navmesh itself is another beast. First, we voxelize the entire game world using an octree, and then we analyze this octree to make it into an actual navmesh. Each (cubic) cell of the octree has six sides, so six possible areas where a grunt could walk on. We generate points on each side and connect them to the neighboring cells. This results in a proper navmesh that allows for the crawling behavior.



Here you can see the crawling navmesh outlined in green, allowing the bugs to walk on the ground, walls, and even ceilings.

[h3]Bug Behavior[/h3]
Crawling is not the only thing that makes our enemies, and especially the grunt, special; we needed something that could increase the stakes and the danger to the player. So we gave this grunt some special behaviors, but before we could do this, we first needed to make a system that would allow these bugs to behave. For this, we wrote our own Behavior Tree, enabling us to control the bugs. This way, we can also lay out our behaviors properly and ensure the bugs execute the correct behavior at the proper time.

One of the first behaviors the Grunt got after crawling was Attacking; what other way to up the stakes than to let the Grunts fight back? Next came the dash, a quick, scary attack that propels the Grunt right at the player, almost like a spider flinging itself at your face. Out of all the behaviors, this was the most tricky to make; we needed this dash to be fast but also slow enough so the player could react. We struggled a while with making this dash suitably scalable, but after a bunch of trial and error, we settled on a quick dash with a short charge up, which allows the player to either brave up and shoot the Grunt right then and there or be a coward and run for their life. The final behavior we added to the Grunt was a taunt to really spice up the player's aggression and drive to exterminate these bugs.



Here, you can compare the old dash (top) and the new dash (bottom). The new dash has a clear charge-up compared to the old dash.

[h2]The Flyer[/h2]
We all know that Grunts are nasty bugs that you would want to keep off your toothbrush, but they are not the only ones. After making the grunt, we noticed that a Big Mech tends to look down a lot when squashing bugs, and we needed a solution. Now, what bug is by far the most annoying? It is near impossible to kill, steals your blood, and keeps you up at night; that's right, the Mosquito. Everyone loves squashing these bugs. It is one of the most satisfying feelings in the world, so we brought them into Big Shots.

[h3]Flying[/h3]
Since these mosquito-like enemies fly, we also needed a navmesh for these Flyers. After creating the crawling navmesh, we applied what we learned to a flying navmesh. The crawling navmesh is based on an octree, and we can use the same principle for a flying navmesh. We voxelize the world, and instead of looking at where colliders are (where the ground is), we look at where there is space. After connecting all empty spaces, we have a simple flying navmesh, allowing bugs to fly through the open air and narrow spaces.



Here, you can see the flying navmesh outlined in blue, allowing the mosquitos to fly between the ground, walls, and ceilings.

[h2]Zig Zaggers[/h2]
To emulate the feeling of a genuinely annoying mosquito, we had to make the flyers move around con-stant-ly. We wanted the player to have trouble hitting these bugs so that when they do manage to squash a bug, it is the most satisfying feeling ever. The goal was to make the Flyer, and with their zigzagging behavior, the most hated enemy in the community. And we succeeded.

Zigzagging has undergone quite some changes; we noticed early that when a Flyer would zigzag, this would quickly interfere with its pathfinding on the navmesh, causing the Flyer's path to constantly have to relocate as an external force was moving them. To fix this, we fake the zigzagging of the Flyers by only moving their visuals; this creates the illusion that the Flyer is zigzagging without interfering with their pathfinding. However, things like these are never easy to do, just like how you can't hit a mosquito on the first try; this solution caused problems with interpolation and networking syncing between two players. Due to the constant zigzagging, the interpolation could barely follow the movements and would often skip frames, creating jitter and lag. To fix this, we simply zigzag the flyers locally, avoiding interpolation altogether.



Not only are they hard to hit, like a mosquito, but they can easily overwhelm the player by using their quick-firing stingers and fast movements if they are not dealt with promptly. So when you see one, be sure to kill them quickly, or you and your toothbrush will be sucked dry.

[h2]More Bugs![/h2]
We have two critters as a starting point, but we have managed to create four more bugs, ranging from cockroaches to beetles and even worms. Each one is nastier and scarier than the last. However, each of these bugs will be discussed in a future devlog, so be sure to be on the lookout for that! Enjoy a small teaser.

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[h2]Conclusion[/h2]
This concludes our third BIG SHOTS Dev Blog. We hope you look forward to seeing the progress of BIG SHOTS, in the meanwhile, we will continue to work hard to make it even better!

-Mikail, signing out

https://store.steampowered.com/app/2666530/BIG_SHOTS/

Follow us on our socials: Gear up, team up, and exterminate! The Big Shots Team

Dev Blog #2 - The Locomotion of BIG SHOTS®

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Hello rookies, my name is Mikail, and welcome to our second DEVLOG! We're excited to discuss our mech controls and, more specifically, our innovative method of VR movement - "Drag Rotation." We will explore how Drag Rotation offers an intuitive and comfortable way to control your mech and why it's more comfortable and accessible than traditional VR rotation methods. HOWEVER, the classic methods for rotation, like snap turn and smooth rotation, are also supported. Join us as we continue to push boundaries and redefine immersion in the world of BIG SHOTS®!

The Evolution of Locomotion

Freely moving around through virtual spaces has been the fundamental appeal of video games for decades. Unfortunately, continuous movement in VR is often an uncomfortable experience that leads to motion sickness.

The goal of BIG SHOTS has always been to create an accessible game while still allowing the player to roam the world without having to teleport everywhere. We developed 'drag rotation': a novel technique to pilot your mech and make continuous movement accessible for everybody. This was no easy task, so let's go through all the iterations we have been through and what ended up working.

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The Cockpit

It was clear very quickly that we needed to limit the view of the player because motion sickness tends to be caused by moving objects that the player isn't focused on. The easiest way to limit the view of the player is by adding a vignette, but we took it a step further and put the player in a cockpit attached to a giant mech, and the idea of BIG SHOTS was born.



To compensate for the reduced FOV, we unlocked the mech cockpit. This means that the cockpit will move with the player's head to a limited degree, which we call head rotation. This gives you more spatial awareness on the battlefield and is a big help in the heat of the battle without the need to rotate all the time.



The cockpit brings many more benefits than only reducing motion sickness while moving. First, we could provide a seated experience for more player comfort, which, in turn, enables longer gaming sessions. Second, we could use cockpit instruments to display essential information about the player (e.g., health) and the enemies (e.g., radar) in a more immersive way. Last but most important we can perform all actions that usually happen on a player's camera to the cockpit. Screen shake gets replaced by cockpit shake, head bobbing gets replaced by cockpit bobbing, and all of this grants even more comfort to the player without losing any crucial feedback.



[hr][/hr]
Rotation

For the rotation itself, we went through a lot of iterations. Let’s start with the existing techniques:

[h2]No Rotation[/h2]
To avoid motion sickness, it is always best to do what the brain expects. So, the best solution will always be not to have specific rotation input and let the player physically rotate in the game. This works excellent against motion sickness but brings other problems with it. First, we decided to use the cockpit, which already ruins the idea. But it also requires a standing experience and can be tedious for wired VR headsets.

[h2]Smooth Rotation[/h2]
Smooth rotation is one of the worst rotation methods regarding motion sickness. You see the world around you slowly rotating with no control over how fast or slow you rotate and no real-life connection to the rotation except a simple button press. It is a method for people with a strong stomach.

[h2]Snap Turn[/h2]
As an alternative to smooth rotation, snap turn is used a lot. It allows the player to snap certain degrees to one side and is a comfortable way to rotate overall. When not used to snapping, it can be disorienting how much you turned and where in the world you are currently looking at. Overall, it is easy and comfortable but a bit weird and needs more control.

Smooth, Snap, and No rotation are all the commonly used methods, but none of them felt perfect for what we wanted to achieve. We can do better than that.

[h2]Head Snap Rotation[/h2]
One of the first original ideas was formed as Head Snap rotation, an upgraded version of snap rotation: you snap to the direction you are looking at. When pressing this button, the front view of the cockpit realigns with what the player is looking at, essentially rotating the mech. Using this method gave more control over how much you rotate, with the bonus of neck strain after playing for a while, so still not ideal.

[h2]Hand Snap Rotation[/h2]
Head snap rotation caused neck strain, but if we could move this behavior to the hand of the player instead of the head, you can rotate quicker and be more flexible without breaking your neck. Hand Snap rotation did what it was supposed to do. But, it was still weird and disorienting for more considerable rotation and when trying to rotate quickly. It turned out as a more complex snap rotation, but not necessarily better.

[h2]Drag Rotation[/h2]
Drag Rotation is the golden child of BIG SHOTS. It takes Hand Snap rotation but smoothens all movement. At first, smoothing the rotation sounds like a bad idea, but it worked out because there is a physical motion attached to the rotation. With the physical motion, there was smooth rotation, no motion sickness, and complete control of the rotation amount, essentially perfect for BIG SHOTS.



With the idea of Hand Snap rotation, a childhood memory popped up. Remember the attractions where you would sit with your friends in a cup, and you could manually turn the cup by spinning the wheel in the center? That was the initial goal with drag rotation. Grab onto something and turn it to rotate the mech. Putting a wheel in the cockpit was a no-go. But combining this with Hand Snap rotation and using the world was viable.

Drag Rotation: Grab a point on the world and ‘drag’ it around you by swiping your controller. The goal is that the point you grabbed keeps following where you are pointing with your controller while swiping, so you rotate the world around you. Thanks to the swiping movement, you can choose how much you rotate, and your brain knows exactly what will happen, thanks to it being directly linked to your actions.



One last and crucial point we discovered is that there are two groups of people regarding drag rotation. Some people expect to rotate in the other direction when doing the swipe movement, so we created a setting to invert drag rotation. Without it, players who expect the opposite rotation quickly experience motion sickness.



[hr][/hr]
Things we learned!

Do what the brain expects. Suppose a motion in the game is connected to a physical action the player has to perform. In that case, it helps a lot to fight motion sickness. Don't suddenly move the player because that will guarantee a weird experience. With an action, we mean something other than a simple button press that is often insufficient. But swiping to turn the mech is a good example. Visual, haptic, and auditive feedback also help greatly to support the brain in understanding what is happening.

Accelerations are BAD. We have physics acceleration for BIG SHOTS, but they are so swift that I don't notice them. Do note that from a physics point of view, rotating is also an acceleration even if you rotate at a constant speed, which is one of the core reasons smooth rotation causes a lot of motion sickness.

[hr][/hr]
Final

This concludes our second BIG SHOTS Dev Blog. We hope you look forward to seeing the progress of BIG SHOTS, in the meanwhile, we will continue to work hard to make it even better!

-Mikail, signing out

https://store.steampowered.com/app/2666530/BIG_SHOTS/

Follow us on our socials: Gear up, team up, and exterminate! The Big Shots Team

Dev Blog #1 - The art process of BIG SHOTS®

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Hello, rookies! My name is Mikail from the BIG SHOTS® team, and I have the honor of welcoming you to the first edition of our BIG SHOTS® Dev Blog, dated December 14, 2023! Today is a significant milestone in our journey as we unveil the evolution of BIG SHOTS®, our VR mech roguelite. We hope to give you insight into our development as we work hard to give you guys the best VR experience!

For our first edition, we will review the beginnings and artistic evolution of BIG SHOTS®. We will go over the inspiration behind Big Shots and show off our art style, showcasing our famous “cube.” Without further ado, let's get into it!

[h2]The Challenge of Choosing a VR Art-Style[/h2]
Sci-fi-VR Games (especially mech VR games) tend to lean towards realism, thinking that's the ultimate goal. While we also enjoy realistic games, that hyper-realistic vibe might differ from everyone's cup of tea, so we tried to do something different. We believe that a stylized art style can breathe life into a game in a way that realism can’t, making it accessible to everyone. That's why we're big fans of the stylized approach. It brings a different vibe—more vibrant, fun, and accessible. Stylized environments let colors pop, injecting a sense of life and energy into the virtual world we're crafting. It's not just about mimicking reality; it's about creating a uniquely captivating and enjoyable space for every player.

[hr][/hr]
Inspiration: The Big Three


[h2]Borderlands[/h2]
While many have drawn parallels between our style and that of "Borderlands," it's interesting that this resemblance wasn't intentional. The love for "Borderlands" runs deep in our office, but our journey to achieve a similar look took a different route.

The visual style of borderlands is achieved through a combination of Shaders, textures, and love. However, in the world of Big Shots, we’ve taken a more hand-painted approach, as our multiplatform approach doesn’t allow for much shader wizardry. Our artists meticulously handcrafted every detail, including the black outlines seamlessly integrated into the textures. It's a labor of love, a manual process that gives our game its unique visual identity. While the styles might share similarities, the techniques behind our results are a testament to the craftsmanship and dedication of our artistic team.



[h2]Love Death Robots[/h2]
Alright, buckle up for the BIG SHOTS® origin story! So, as we dove into the wild world of game development, our main mantra was making sure players had that satisfying “it just makes sense” feeling with their inputs. We experimented with letting the player pilot a vehicle with weapons; later, the mechanisms and movements made it clear that the best fit for the theme would be a badass “mech.”



We worked a while on perfecting the mech’s movement and how to make it feel snappy, and amidst development comes this episode from "Love Death Robots." Picture this – an average Joe inside a massive mech, going toe-to-toe with alien bugs. We thought it was fucking badass.

So, we collectively scratched our heads and thought, "Why not bring this whole vibe into the VR realm?" And that was the spark that lit the BIG SHOTS® fire.

[h2]Deep Rock Galactic[/h2]
It's funny how many folks say BIG SHOTS® gives them Deep Rock Galactic vibes. We're not complaining because we regularly play DRG. It's a staple in our office gaming sessions. But here's the kicker—BIG SHOTS® didn't take a direct cue from Deep Rock Galactic.

Looking back, we get why people see the connection. We aimed to capture that whole working-stiff vibe in BIG SHOTS®—the feeling of being a blue-collar worker just trying to make a living, using the corporation's gear to level up along the way. It's that same down-to-earth, working-class hero vibe you get in DRG. So, while the inspiration wasn't intentional, this shared essence ties our game to the caverns of Deep Rock. Here's to the grind, whether in space or the futuristic offices of BIG SHOTS®!

[hr][/hr]
The Cube

In the VR realm, we're up against a challenge—keeping things like polycounts and texture sizes in check. We want our virtual world to stand out, but the tech limitations push us to be smart about it. We also want to ensure that we push every platform to its graphical limits, PCVR, PSVR2, Quest, and Pico, without sacrificing performance. That's where atlases, trim sheets, tiling textures, some nifty shaders, meticulously tested lightmaps, and post-processing come into play. It's like using a set of tricks that let us expand BIG SHOTS® without bogging down the experience. Think of it as our way of balancing our virtual world's visual complexity with the hardware's realities.

We learned most of this throughout development, but it all started with the default blender cube.

The creation of the BIG SHOTS universe contains a series of steps that need to be undertaken to deliver a game-ready asset.

We established a tight color scheme to maintain consistency and a unified look, restricting ourselves to 3 or 4 colors for each asset. The key techniques involved:
  • Starting with base colors.
  • Applying cross-hatching for texture.
  • Manually outlining in black for contrast.
  • Highlighting edges to define shapes.
  • The finishing touches? Delicate hand-painted details.
When shaping our assets, we took a deliberate approach. We ensured that our forms contrasted with the backgrounds, creating a sense of roundness. Why? Because rounded shapes with vibrant colors exude tranquility, enhancing the VR experience and encouraging prolonged gameplay.

Our lead artist, Matthias, declared the need for an asset that would set the tone for the future of our VR universe. Thus, "The BIG SHOTS Cube" was born, becoming our go-to reference for every asset to come. It's amazing how starting with a simple cube has shaped the vibrant and cohesive visual language of BIG SHOTS®.



[hr][/hr]
The Process


[h2]Concept Phase[/h2]
During the conception phase, we look for interesting shapes, ideas, and concepts an object can bring. We consider the conception phase as a problem-solving solution through conceptual art. For example, we have different guns that we want to interchange during gameplay; what device can support multiple guns or how do we tackle transformations of guns? With problems like these in mind, the concept artists sketch ideas and solutions based on the given limitations. Afterwards, this gets discussed by the team, and a design is cleared for production.



[h2]Modeling & Sculpting[/h2]
After the conception phase, we continue to the modeling and sculpting phase. We want to release on all major VR platforms, so we are bound to some limitations. To adapt, we opt for a low poly workflow using our favorite modeling tool, Blender! This means we keep the polycount as low as possible while creating crisp, kick-ass-looking artwork. When working in this low poly workflow, there are a couple of things to remember: shapes, contouring, and readability. Whenever we work on organic models, we use Z-brush as our go-to sculpting tool. This tool gives us the flexibility to form organic shapes quickly.



[h2]Texturing[/h2]
To get this specific look, we have the BIG SHOTS “companion cube” that takes us through this process. It visualizes the impact of certain steps crucial to the style while working with Substance Painter and Photoshop.

[h2]Basic Colors[/h2]
Less is more. And with that philosophy, we created the color palette for big shots. We try to achieve visual simplicity while maintaining the readability of our objects. That’s why we chose a color palette consisting of 3 main colors. This gives a clear indicator for the player of what objects have interactable capabilities and which don’t. So, in the first step, we apply the base colors to the mesh.



[h2]Color Variation[/h2]
We use a color variation smart material we've set up to add that extra layer of depth and eliminate that squeaky-clean look. This smudges away at the clean colors, creating darker spots and giving it that dirty look.



[h2]Ambient occlusion, black outlines, and crosshatching[/h2]
Ambient occlusion, black outlines, and cross-hatching. The most distinct effect we use is the pitch-black lines on the hard edges of our objects. This gives the player a strong sense of contour, enhances readability, and helps with depth perception. To add to the cartoon and playful look, we add a cross-hatching style ambient occlusion and accentuate depth in models by adding more where necessary.



[h2]Paint Damage[/h2]
When piloting your mech, you sure take some damage along the way, not to mention the pre-used gear where previous owners have neglected the paintwork. Chipping away paint is one of our techniques to give that worn-out, used look.



[h2]Highlights[/h2]
Finally, highlighting edges and spots that would catch more light than others is crucial to a stylized look. It also enhances the contour of an object and adds an extra layer of depth. After adding lighting effects and highlights on the object, we almost have a finished object ready to implement in the engine.



[h2]Decals and unique effects[/h2]
Some objects need extra love and require custom decals and effects. One of our most used decals is the diagonal lines. This brings a heavy machinery vibe to the object, best known in real-life applications such as diggers and construction sites. In this step, we also try to go the extra mile and achieve some extra comic feeling by adding funny quotes or scribbled details on an object in a comical way, like ‘Canister goes here, and comes out there.’ Nothing better than stating the obvious to your player in a funny way while still helping them out.



[hr][/hr]
This concludes our first-ever Big Shots Dev Blog. We will continue working hard to make BIG SHOTS@ the best experience for you! We hope you enjoyed this dev blog and let us know if there are any other topics that you would want us to talk about in the comment section down below! We hope we see you next time!

-Mikail, signing out

https://store.steampowered.com/app/2666530/BIG_SHOTS/

Follow us on our socials: Gear up, team up, and exterminate! The Big Shots Team