This felt better. It took me some time to understand how to set up those moving platforms. There's a box collider that needs to detect the player so that it can stay on the platform when it moves. Without it, the player will just stay in the same position when it leaves.

s.

Some small progress entering the temple. I'm setting up the spot for the moving platforms. The layout I sketched out will have a few moving platforms, some more combat, and then the final boss. I think I'm eventually going to have to tinker with some scripting in Unity.

I didn't expect to get so picky on the timing of the moving platform. It took me a while to get it working. I only tested out one. The other ones might run a bit longer. #Unity3D

Here's another update on my WIP Platformer using Unity's 3D Game Kit. I did a paint pass on the terrain and added more foliage. I'm going to polish the space a bit more, then I'll continue to the next stage.

I've been working on a level in Unity using the 3D Game Kit: 
Link to the kit in the Unity Asset Store

Here's a video clip of what it looked like with an early version of the terrain: 
Link to the video from my Tumblr blog

All of the assets will be from the kit or through the Unity engine. I wanted to get familiar with the engine. I've used it before on a few indie games, and I uploaded a few of my assets to the Unity Assets Store about 10 years ago. I've been working in Unreal Engine for so long that I feel that now's a good time for me to refresh my memory on the UI, but also dig deeper into some of the tools that I never used before.

Clockwork Revolution was first revealed at the Xbox Showcase in 2023. This was the game I've been working on since I joined inXile Entertainment at the start of 2022. Another trailer, with more cinematics and gameplay footage, was shown at the Xbox Showcase in 2025. I worked on several areas that were shown in the trailer, but they're just snippets of what the whole game looks like.

Unfortunately, I was laid off from inXile Entertainment just recently, in early May. I was with them for over 4 years. It was a great experience to have been with the team early in the project and to see where it is now. My initial goal since I joined inXile was to experience working on another RPG, and I learned so much throughout my time there. Vampire: The Masquerade - Bloodlines 2 was the only other RPG I worked on, and it was a different experience back then. I have nothing but good things to say about inXile Entertainment and Clockwork Revolution.

Vampire: The Masquerade - Bloodlines 2 has finally been released, officially by The Chinese Room. It was re-announced in late 2023 at Pax West that The Chinese Room was working on the game, and it was released in October 2025. Hardsuit Labs was credited under Special Thanks at the very end of the credits.

I'm glad that it's finally out. Some of the work I did on the game from way back actually carried through to the end. A good number of them noticeably changed slightly or were refined. I'm assuming they were either from The Chinese Room or Sumo Digital. I can't really showcase any of my work properly on my portfolio, since it's in a grey area, but I have posted a couple of screenshots of some them on my Tumblr. I'll post some of them here. I prefer not to show any of the old work from the previous version. With respect to the developers and artists from The Chinese Room, I'll just leave it as is. It's a miracle that the game even came out. A blog post showing some of the work is about as far as I'll go.

Here are some areas that I worked on. I have to emphasize that I worked on an earlier version of them from mid-2017 to early-2019. All of them were shared with other artists at Hardsuit Labs, and then over time, The Chinese Room and Sumo Digital polished them and refined to fit with their vision of the game.A few spots in these areas can be seen in some of the trailers from the previous version, but the final version of the game and what actually carried over is what's more important.

Here are the links to my blog posts:
https://www.tumblr.com/agarcellano/801110567842660352/i-worked-on-an-early-version-of-lou-grahams?source=share
https://www.tumblr.com/agarcellano/801110920447361024/i-worked-on-a-different-version-of-the-weaver?source=share
https://www.tumblr.com/agarcellano/801112513202814976/i-worked-on-a-small-tunnel-in-the-jungle-in-the?source=share
https://www.tumblr.com/agarcellano/801113612779454464/this-is-the-last-set-of-screenshots-of-areas-i?source=share
https://www.tumblr.com/agarcellano/801109756157837312/i-took-some-screenshots-of-some-of-the-assets-that?source=share

This is a very late post, but this is the game I worked on when I was at GameSim. Metroid Prime Remastered was released in early 2023. It shadow-dropped on February 8, 2023. I was way too excited when this came out. I didn't know when it would come out. I'm grateful to have worked with the team at GameSim. I still remember vividly ending my contract at Vicarious Visions on a Friday and then starting my contract with GameSim on Monday.

For this project, I can't showcase any of the work on my portfolio. I was interviewed by Kiwi Talkz weeks after the game was released to discuss my time working on it. The interview was later removed. He has interviewed several former Retro Studios developers in the past. It was probably too soon, at the time, to talk about the game. I've seen a few artists from external studios and a few who worked at the studio who have posted their work on ArtStation. I was frustrated at first, but at the end of the day, it's a Nintendo game. There are some strict rules on how they want their artists to showcase their work in their portfolios. 

It was a rare opportunity that I still can't believe it happened, all from happenstance trying to find work that's in Florida while I was in New York at the time.

Happy New Year! Time for me to announce where I'm working now. Just wrapped up my first day at inXile Entertainment! They're an Xbox Game Studio that recently made Wasteland 3! They have offices in Tustin, CA, and New Orleans, LA.

It's a new avenue for me to dive into, and I'm liking it!

I do like turn-based strategy games, like Gears Tactics, BattleTech, Mutant Year Zero, etc. Wasteland 3 was fun, Wasteland 2 was long but fun, and to a point where I had to use a guide. Wasteland 1 Remastered was brutal! I needed a walkthrough, but I enjoyed playing through it.

They're one of the three Xbox Game Studios in Southern CA; inXile, Obsidian, and The Initiative. They have a good track record of titles, and they've been picking up with more interesting ideas with the Battle of Steeltown and the Cult of the Holy Detonation for Wasteland 3.

I'll be starting a new job soon, and I thought I'd look back on a few of the past projects I was credited on, not as an Environment Artist. I know I've posted a couple of these in the past on social media. That or a couple of my coworkers back then tagged us when they saw our names on the credits. This is just for record sake.

ModNation Racers PSP (2010) - Right under Art Support. The credits roll quickly in this game. This was fun to work on. If things were different back then, I wouldn't have minded staying at Sony in San Diego, in the art department. But, after the internship, this led me to try out other avenues, to see what was out there.

MLB 2010: The Show (2010) - After my internship at Sony, I joined the QA department. I probably shouldn't have done that, but I wanted to stay at Sony. They couldn't bring me on board after my internship. I did this for about 9-10 months before joining Legend 3D. I was on this from January to February 2010, and then after that, I joined the Online Support team, moderating online games.

Man of Steel (2013) - At Legend 3D in Carlsbad, CA, we worked on the stereo conversion of the film. I've worked on several movies at Legend 3D for almost 4 years, and this one was the only major feature film I was credited on. After working on this, it eventually led me to leave months later. I'm a huge DC Comics fan, so of all movies to be credited on, I was happy to see that it was this one.

Top Gun 3D re-release (2013) - At Legend 3D, we actually worked on this in 2011, after three massive layoffs at the company. It was a rough time during that period, but the company eventually grew about a year after we started working on this. It went from working on this to The Amazing Spider-Man 1 (with Andrew Garfield), and then the projects got better from there. This was in selected theaters for a few days, but then went straight to Blu-Ray 3D. I was happy to see my name on the credits, but Man of Steel did it for me.

LawBreakers (2017) - Under one of the many Contract/freelance artists. The servers for this game shut down a little over a year after the game came.

Desert Bus VR (2017) - It's still available on Steam to play in VR or non-VR, and it's free. I was credited in the game on one of the posters by the bus stop, right when you start the game. I think most, or all of the devs, at Dinosaur Gams were credited in that poster.

Crash Bandicoot 4 (2020) - Under Airborn Studios, 3D Level Artist. I was only with them for a month, under a trial period, working remotely (PST, CET/UTC +1), and if it went through, I would've stayed on the project for 9 months. I didn't get past the trial period due to various reasons, mixed with time, feedback, and revisions. This was from June to early July 2019. I'm grateful that they still credited me for the short amount of time I was on the project. It was a fun opportunity, which I believe led me to work at Vicarious Visions, the team that made the Crash Bandicoot N-Sane Trilogy. This game came out in early October 2020.

Tony Hawk's Pro-Skater 1+2 (2020) - Under Environment Art. I joined in early October 2019. This game came out in early September 2020. The art team was done around August and shifted gears to playtesting Call of Duty Warzone, prepping to do some material and environment artwork on Warzone.

I thought I'd also add Call of Duty Black Ops Cold War, in case anyone was curious. My name's not on the credits. They just listed Vicarious Visions and Toys For Bob under Special Thanks. Some of the devs at Vicarious Visions worked on Black Ops Cold, and a few others worked on Warzone, mainly for the '84 Verdansk map that's in the same time period as Black Ops Cold War. I'm not really sure if the Warzone game itself has a credits section. Last I checked, they didn't have one. I only made 5 materials for the '84 Verdansk map, which I don't think were added to the game (which is fine). The art team that worked on THPS1+2 had about a month to playtest the seasonal builds for Warzone before working on the '84 Verdansk map. We all made a few materials. I spent just about 2 weeks, or under, on those materials before my contract ended, and I later joined GameSim right after. The rest of the team continued working on the '84 Verdansk map after I left.

I'm glad that we at least touched a Call of Duty game. Activision makes a CoD game almost every year, but now with Warzone, there'll always be more content, or just anything related to Call of Duty, every year. Vicarious Visions worked on a few CoD games before this one; one was Infinite Warfare, and I want to say the other was a potential CoD game that got cancelled back in 2008-2010. VV eventually merged with Blizzard, not long after my contract ended with them. If they didn't, they'd probably continue working on Warzone, similar to what Toys For Bob ended up doing after Crash Bandicoot 4 came out (a month after THPS1+2).

So, this is what I've been working on lately, in UE5. None of the assets are mine. All of these are from the marketplace: the rover, astronaut, small sphere drone, the cliffs, particle effects, etc. I wanted to make a scene based on Mars, and I came across this piece by Amante Lombardi https://www.artstation.com/artwork/AyK6y

I made a very quick sketch of the idea that I had in mind. Right now, it's just missing something in the far right area. I'm still planning to adjust a few spots on the cliffs. I added a hill for the shot, but that was mainly it. The material layers for the rocks, sand, and cracks were already built. I moved a couple of the particle effects closer to the camera. Also used the nanite feature just to see how far I can go adding many cliff meshes. I already went over the texture streaming budget :), so I turned it off. Definitely went overboard.

This is the first scene where none of the assets are mine. Just literally using what's in the marketplace.

As I was making this, I was leaning more towards a shot inspired by the movie The Martian, with Matt Damon. I wanted to add a small drone. I tried to make it float by the astronaut at first, but because of the astronaut's helmet, it didn't seem right seeing two round shapes next to each other. I switched it to a ball that could roll near the astronaut, almost like the BB-8 droid in the Star Wars series. As far as what the astronaut's looking at, I'm aiming to not make it too fictional, but almost realistic in some way. This is still a work-in-progress.