Battlefield 2042 - Redacted
For our Season 6 map "Redacted", I got to lay my hands on a mysterious forest inside a secret facility, where something truly terrifying's waiting to be uncovered...
Since much of my work here was pure level art, I've included lots of timelapse shots in this post, showcasing the process from start to finish. It was so much fun to play around with compositions for these spaces while simultaneously improving on player orientation and level flow, together with our Level Designer, Gabriel Sanchez.
Aside from the composition work, I was also in charge of the map's nature backlog and iterated on existing content to make it fit the horror theme, with support from my fellow nature artists. A huge thank you to Hannes Lidbeck, who helped me with asset migration, and Lina Li, who did technical setup for trees.
And, as always, many thanks to the team at DICE working on the map in its entirety and our external artists at Sperasoft and EA Shanghai who helped us build all of the fantastic new content on display here. I had an amazing time working with all of you!
- DICE -
Environment Art: Gaëtan Perrot
Environment Art: Daniel Schönherr
Environment Art: Hannes Lidbeck
Environment Art: Lars Mårtensson
Environment Art: Daniel Cambrand
Environment Art: Joel Zakrisson
Level Design: Gabriel Sanchez
Lighting: Stefania Hernandez
Lighting: Anders Lorentzen
Tech Art: Victor Malm
Tech Design: Julia Holmlund
Tech Design: Jack Fuller
VFX: David Bond
VFX: Attila Herczeg
Environment Art Lead: Mikael Karnell
Art Direction: George Bordeanu
Outsourcing Lead: Erik Pettersson
- EA Shanghai -
Environment Art: Lina Li
Environment Art: Jessing Chen
- Sperasoft -
Environment Art: Tatiana Gorbunova
Environment Art: Turutov Vladimir
Environment Art: Sergey Kuznetsov
Environment Art: Alexander Chesnokov
Was responsible for the Field Testing biodome. I did the level art from blockout to polish, focusing primarily on improving on
composition and player orientation, while ensuring the core level design remained intact.
While the jungle was artificially made, I still wanted some parts to really feel as if you were in an outside forest.
A lot of effort went into modifying existing content to fit the vision of a creepy jungle. I twisted branches and added extra little details.
I was also responsible for some interior sections.
In this space, augmented soldiers were prepared for battle before stepping into the biodomes.
Got to work a lot with blood and storytelling in these areas, similar to my time on Dead Space.
Before and after shots of one of the more challanging hallways that I iterated on.
In these cases, we artists tried to simplify the larger shapes as much as possible, in collaboration with our designer.
To improve on navigation, we added several landmarks inside of the dome, like this cave.
I had a great time working with composition in these spaces.
Framing paths with twisted branches and pushing shapes of rock formations was so much fun!
Practice range houses were set up by me and finished by our colleagues at EA Shanghai.
Destruction and wind setup for all vegetation was also done by them. I provided feedback and guidance along the way.
And of course, the plushes had to make a comeback.
I'm pleased to say that Dead Space's "Good Company Squad" made it into Battlefield as well!
Zbrush sculpt of the penguin plush that I was responsible for.