Great job and very inspiring! Thanks for sharing.
Frankly I do not understand why we talk about the past of this CEO. As a player I do not care about what he did or not until his games are good. As an Environmental Artist instead I see a game with a shaky graphics. It is completely without personality, emotion and involvement. It can hardly be considered acceptable especially for the 2019 platforms (which I understand will be the target of this game). Well, this is probably an indie group, with no experience facing a first game in the real market. And that's fine. Do the best you can that even if you fail, you will learn and do better. From a technical point of view the method you are using is very old. It can work but not as you are doing it. I bet you're using Unity, it's easy to see that since I see assets from their asset store. Break your landscapes more, they are too monotonous and contact real 3D artists and level designers. One last thing, the last screenshot is worse than all the previous ones. The lights are wrong and everything screams disaster. Avoid similar disasters in the future.
But are they real or is it a mockery? or a scam? Truly horrible flat graphics and lacking a real sense of aesthetics. Ui devoid of consistency and usability. Do they really have a graphic art department? Imho in 2018 using such tricks so massively denotes profound technical incompetence.
Check out a tutorial by Ben Erdt on creating sci-fi creatures. Spend 417 minutes with this guide from The Gnomon Workshop to turn your 2D sketch into a model ready for rigging and animation. You’ll need ZBrush and Modo to follow Ben’s steps.
Here is a preview:
In this tutorial, Ben Erdt shares his workflow for creating a sci-fi creature/character from a 2D sketch to the final production model ready for rigging and animation. He starts by analyzing the 2D sketch to get to know the character and breaks the design down into its basic parts. Inside ZBrush, Ben sketches out the character in 3D starting with the base body, continuing with the armour parts while he makes sure the model stays functional for animation. After preparing the final sculpt for export out of ZBrush, Ben gives an introduction into the modeling basics of Modo that are needed to rebuild the character for Sub-D. He starts with the re-topo of the head and body, then moves on to parts of the armor showing how a mix of the Modo retopology and regular modeling tools can be used to start rebuilding and finishing the armor plates. Towards the end of the tutorial, Ben models the last bits of the character such as smaller details, the inner mouth and prepares the organic parts for surface detailing in ZBrush. In the end, he recaps the character workflow and shows some test animations of the final character model. For those interested in both organic and hard-surface modeling, this title offers an in-depth look into how to achieve professional results using an efficient and production proven workflow.