How to Create a Real-Time Character Inspired by Dishonored

Introduction

Hi everyone! My name is Fransiscus Luis, and I am an Indonesian 3D Character and Creature Artist currently based in Malaysia, where I work as a 3D Modeler at Passion Republic. My journey into game art started in 2019 when I took a foundational course and learned the basics of 3D modeling using 3ds Max. Wanting to create more detailed and organic models, I began teaching myself industry-standard software such as ZBrush, Substance 3D Painter, and Maya through online resources and tutorials.

In 2023, I moved to Vancouver to study Character and Creature for Games at Think Tank Training Centre. The program helped me improve my skills, develop my portfolio, and gain a better understanding of the workflows used in modern game production.

Silas Rook Project

This project originally started as a quick anatomy study. As I progressed, I decided it would be a great opportunity to learn how to create dreadlocks. My goal was to develop a real-time character that stands out visually and connects on an emotional level. Stylewise, I wanted to combine the exaggerated, angular facial planes inspired by Dishonored with highly realistic texturing and groom work.

Rather than focusing strictly on technical perfection, I wanted to give myself the creative freedom to explore a more expressive interpretation of the character.

Sculpting

I started the sculpt from a sphere, focusing first on laying out the angular planes of the face. To optimize my workflow, I used ZWrap to project clean topology onto the sculpt, allowing me to easily extract micro details using Texturing XYZ maps. Afterwards, I went back in to smooth out specific areas and introduce asymmetrical planes to give the character a more unique and organic feel.

For the clothing, the process was straightforward. I extracted the mesh directly from the base body, then smoothed out and simplified the overall shape. For the fabric folds, I sculpted them manually using the Standard, Clay Buildup, and Smooth brushes, keeping the folds slightly stylized to match the character's aesthetic.

To get cleaner topology, I ran ZRemesher over the mesh and generated UVs so I could cleanly lay out the fabric weave patterns on the sculpt and for texturing.

Tattoos

I took an unconventional approach to the tattoos for this project. Instead of relying heavily on pre-made stencils, I hand-drew the mask design directly inside Substance 3D Painter. I chose this method because I love drawing and wanted to have fun experimenting with shapes and patterns.

While it might not be the quickest or most efficient pipeline, it was incredibly rewarding. Looking at the step-by-step progression in the picture below, here is how I built the layers:

1. Sketch: I started by creating a fill layer with a black mask, then added a paint layer to sketch out the initial concept using faint, fine lines.
2. Linework: Once the sketch was ready, I added a new paint layer to block out the heavy linework, creating sharp contrast and establishing the bold shapes of the design.
3. Shading: Next, I introduced another layer dedicated to smooth shading and gradients, giving the artwork depth and a sense of dimension.
4. Material View: To give the tattoos a natural, embedded look on the skin, I added a subtle blur filter to soften the ink and applied a slight green color tint to mimic real aged tattoo pigment in the final material view.

Presentation

I posed the character in ZBrush because I find it gives me more control over the process. I simply used the low-poly mesh and combined masking with the Move tool to create the pose. One of my biggest tips for posing a character is to focus on where they're looking.

Eye contact is especially important to me because it helps communicate the character's emotion and intent. Finally, I like to introduce a bit of asymmetry through the facial expression or a slight head tilt, as it makes the pose feel more natural and believable.

Hair

This was my first time creating dreadlocks, so it involved a lot of experimentation and exploration. I created the hair using both XGen and XGen Interactive Groom. For the dreadlocks, I manually placed and styled the guides to make sure the hair had a natural flow with good layering and volume. As for the modifiers, I mainly used a combination of Clumping, Coil, Cut, and Noise to achieve the overall shape and variation.

Once I was happy with the base groom, I refined everything in XGen Interactive Groom, which gave me more control for making final adjustments and adding smaller details. The eyebrows, eyelashes, and beard were also created entirely in XGen Interactive Groom.

Rendering

I chose Marmoset Toolbag because it's quick, intuitive, and makes it easy to iterate on the final presentation. For the lighting, I kept the setup as simple as possible to emphasize the character's forms and materials. I used two key lights along with an HDRI for subtle ambient lighting and overall balance.

For the hair, I imported it as an Alembic file, which allowed me to take advantage of Marmoset Toolbag's new grooming tools for fine-tuning the strands directly inside Marmoset Toolbag. Finally, I used depth of field to enhance the presentation and create a more cinematic mood.

Conclusion 

This project took me about three months to complete. Since I was working full time, I developed it on and off during my free time. I genuinely enjoyed every part of the process. It started as a personal study, with the goal of creating an original character that combined subtle stylization through exaggerated facial planes with realistic texturing. Rather than focusing on a production-ready pipeline, I wanted to prioritize the overall style and aesthetic. That freedom allowed me to fully enjoy designing and crafting every aspect of the character.

The biggest challenge was creating the hair, as it was my first time making dreadlocks. It required a lot of experimentation to achieve the look I had in mind. Another challenge that pushed me outside my comfort zone was designing an original character. Finding the right balance between stylized forms and realistic proportions took quite a bit of iteration, but it was also one of the most rewarding parts of the project.

For beginners, my advice is to stay curious and keep exploring the areas that genuinely interest you. Enjoy the process and have fun with the projects you work on. If you find yourself losing motivation, take the time to understand why, keep learning, and don't be afraid to try new approaches. Every project is an opportunity to improve.

Fransiscus Luis, 3D Character & Creature Artist

Interview conducted by Stephanie Almogabar