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Technical
Art

Game
Development & Design

Software
Development & Design

Discord
Development & Design

Security
Engineering

Music
Production

XII

Neo-classical / Dark New Age

The Good & The Bad

Progressive Rock

In this example, I set out to create a hybrid rendering system by combining 2D URP with 3D elements. I utilized Sprite Renderers within a perspective 3D environment to achieve layered parallax effect while reserving full 3D rendering for the character model.I integrated MeshRenderers into the 2D URP lighting system through a script calculating light to maintain visual coherence, bridging systems that are not natively compatible in order to expand flexibility and reduce reliance on 2D animation.

This displays a weather system I created as part of my original framework. The system manages environmental lighting, sky elements, ambient audio, wind direction and intensity, and fog parameters through coordinated transitions. These operations are handled using linear interpolation for seamless blending.Rain dynamically updates the ground wetness parameter, which other modules use to adjust their behavior accordingly to maintain environmental coherence. As an example, the sound module instantiates random splash sound effects, with volume and frequency depending on the wetness parameter.Wind data is propagated to custom shaders via a global wind intensity parameter, enabling shader-driven object movement that remains consistent with the current weather conditions.Environment configurations are stored as Scriptable Objects, allowing profiles to be created by level designers with ease.

The system contains a post-processing controller that accesses and adjusts camera Volume Profile properties at runtime and enables dynamic control over these parameters, including color grading, bloom, SSR, chromatic aberration, LUT, among others.These visual effects can be tied to environmental conditions, such as gradual change for bloom and screen space reflection intensity during sunrise and sunset to enhance the atmosphere.

In this example, I implemented 3D hair with physics within a 2D URP environment, based on com.unity.demoteam.hair package. I built and groomed an Alembic hairstyle for the character and fine-tuned its simulation parameters to achieve stable real-time performance. The mesh was also integrated into the 2D lighting system through a script calculating the surrounding light.The hair module was integrated with the existing weather framework, propagating wind intensity and directional data to ensure consistency with environmental conditions.

This example showcases a prototype for an interactive notebook system I designed to replace traditional quest and document trackers in favor of a more immersive experience. I find it effective to reduce reliance on conventional HUD elements and instead convey information through visual and auditory cues within the game environment for better player immersion.

This prototype from my early days demonstrates a generator system that manages the light sources and electrical appliances designated in its object array. All state transitions are handled using a coroutine with linear interpolation to create a natural feel, with the object sounds adjusted similarly through pitch shift to imitate voltage changes and gradual blackout.

This example showcases a prototype rotary phone I designed and developed in my earlier days as part of my framework. Available phone numbers were stored in an array and mapped to audio clips to be used for puzzles and easter eggs.

While my previous framework relied on the 2D URP lighting system with 3D object integration, in this alternative rendering implementation, I utilize 3D URP lighting for SpriteRenderers within a 3D environment. I created a custom Shader Graph to make Sprites compatible with 3D URP lighting. It automatically generates normal maps using the main texture as a height map. Multiple material presets for sprites can be created and assigned contextually, eliminating the need to create normal maps or configure materials per asset, effectively streamlining level design and saving time, which was the main priority for this system: utilizing SpriteRenderer as a component was more practical than using planar meshes with MeshRenderers due to the simplicity and efficiency of using Sprites.This example also showcases several supporting modules from the framework. The door system integrates volume post-processing effects with teleportation logic to create seamless transitions between areas. The interaction system instantiates buttons into the world and renders the targeted object through a dedicated camera and RenderTexture. A typewriter module handles progressive text generation, while the audio system makes use of AudioMixer with several exposed parameters and filter components (e.g., low-pass, reverb, echo), synchronized with a room module that manages environmental settings.

• Well done! You found it!

This prototype implements a Morse transmission system using a dictionary-based encoding structure to convert text input into timed signal output. Characters are translated into dots and dashes, with controlled delays between letters and words to replicate authentic Morse transmission fitting for a submarine.Signals are conveyed through synchronized lighting effects and a visual output based on LineRenderer component, while word separations trigger a static noise that serves as a cue to render the system more accessible and enhance the atmosphere.

This prototype was inspired by the physical marble game and The Labyrinth Plus!, which was distributed with Microsoft Plus.To replicate the core gameplay logic without heavily relying on complex mesh construction, I studied shaders and made use of Stencil Buffers to render holes on planar surfaces. This allowed holes to be placed directly on flat geometries, simplifying level design significantly. Trigger colliders were placed accordingly to make the ball fall through designated stencils for the logic.I made use of tilemap as a grid system to structure mazes and developed a ScriptableObject-based configuration for levels that replaced blocks and environment objects for maze dynamically. The level system was designed to generate randomized outputs, introducing variation each time a labyrinth was constructed. Mesh variations for blocks were assigned from arrays, with random rotation, and themes and colors applied. Configuration settings also controlled the skybox, background music, ground textures, and labyrinth frame for visual consistency. For ground trails, I deemed it practical and efficient to make use of Sprite Shape, and utilized it to create the trails as extra details.

This one demonstrates a pet system I developed for an unofficial community server. Spawning a pet instantiated a control HUD that also included an input field for the pet's name, which allowed users to control their pets' behavior through in-game chat by mentioning their name and action. It involved threshold logic for movement, changing states between walking and running to catch up to the player, as well as manual placement and rotation of pets through specific hotkeys for screenshots.I introduced rate-limiting and integrated it into the HUD, serving as a cooldown between animations to ensure they play out properly. This was accomplished by using a radial mask.The movements and actions were synchronized across all clients using the platform's native server implementation. The client dispatched a message to the server side, which would be shared with other clients in the same room. This native network system allowed features to be implemented using client-side logic without the need to make adjustments on the server.

In this example, I developed an animation mixer system for an online social game. The system made use of AnimationState to target specific bones, allowing certain animations to override current animations for selected bones and their hierarchies.Crossfade transitions were used to ensure smooth blending, along with a slider for animation weight to adjust intensity.Data was dispatched to the server and distributed across other clients within the same room, enabling custom emoting.I developed the system in a way it dynamically instantiated the animation buttons from a client-side list. Button generation was driven by naming conventions: animation identifiers were parsed to generate the labels for display by removing internal markers, replacing underscores/hypen with space, and applying proper capitalization. If the designated AssetBundle contained icons using the same internal animation name, they were automatically added to the HUD. This streamlined the workflow, allowing new animations to be added simply by updating the list and including an icon with the same identifier in the bundle.

2D Design
Illustration & Production

Environment Design
Atmosphere, Rendering & Systems

I've been involved in digital art and photomontage as a hobby for nearly two decades. My workflow generally involves sketching on paper, scanning, and processing the results into digital artwork. The examples above are my improvised artworks painted in Clip Studio Paint and Photoshop, making use of experimental methods.The examples below showcase my general workflow and a more refined approach to producing artwork with a consistent art style, and demonstrate my capabilities in digital painting without any reliance on AI image generators or tools. Additionally, I can always livestream or provide time-lapses as proof of human authorship.

Texturing & Refinement

Higher-quality source images and time-lapses can be found on my art pages. In these examples, I painted over real-life photographs sourced from Pixabay. For line art, I primarily rely on Clip Studio Paint's continuous curves without anti-aliasing. I work with layers and back up frequently. For visual editing, one of the tools I use is Nik Collection for Photoshop, which I find quite useful. In addition to creating my own textures, I occasionally incorporate royalty-free and public domain textures through masking and blending.When it comes to utilizing gen AI in art production, I am skeptical, as it can effectively undermine the collective efforts of the team. Regarding AI tools, I can name PicsArt's image quality enhancer and ClipDrop's light studio as practical tools that can be used in production while maintaining authorship clarity and PR safety.

Due to recent advancements in AI image generation, I no longer prioritize digital art. I still engage in art primarily as an editor, adjusting visual assets, correcting artifacts, maintaining stylistic consistency, and optimizing and managing assets.Besides digital art, I've been also involved in traditional tattoo art, which I pursued in response to the rise of generative AI, as it remains a relatively reliable creative field in the current state of technology. I use a tattoo machine and currently work with skin papers, and soon with live subjects. Below are my first two pieces, presented as physical, hand-drawn works alongside my digital art.

The showcased examples are levels I created as scenes within the Unity environment utilizing the 2D Universal Renderer Pipeline. The sprites were sourced from public-domain and royalty-free photographs. I processed, adjusted, and made them transparent in Photoshop before placing them in 3D space, creating seamless 2.5D parallax maps designed around perspective projection rather than orthographic for better visual realism and immersion.I complement my levels by developing custom MonoBehaviours that manage post-processing FX and environmental conditions, such as day-night cycles and weather systems, utilizing Volume Profiles and adjusting properties like color grading in real time. Through these systems I also alter global shader parameters, such as wind direction and strength, as well as environmental lighting.I design and make use of particle effects, modify existing shaders and create new ones through Shader Graph, and integrate them into these systems to improve environmental coherence.In addition to these, I develop and integrate custom audio systems using AudioMixer parameters and Unity's audio FX components. For more information on these audio systems: Audio Engineering.

Environment module. For more info: Game Development & Design

In these examples, I make use of Sprites and Sprite Shapes using lit 2D URP shaders and sorting order instead of perspective ordering. While sorting adds extra complexity, it provides greater control over the environment and parallax pacing.Using SpriteRenderer in this way, rather than planar meshes with MeshRenderer, simplifies object management and level design. However, utilizing 2D URP lighting in 3D spaces and allowing angled perspective projection can present difficulties such as visual artifacts from certain viewpoints or when lights are not properly positioned, and this is the trade-off of the technique. Nevertheless, this pipeline I devised can yield visually unique and immersive environments when levels are built accordingly, which I ensure by designing levels in Play Mode and saving the changes.

Besides working on such environments, I also have experience with 3D environments. From a technical standpoint, I am familiar with reflection probes and I prefer to rely on baked lightmaps over real-time lighting and shadows to produce optimized levels. I work with cameras, employ camera volumes and post-processing FX, and optimize props and environments through the use of LODs and custom scripts managing GameObjects and Renderers.The examples below showcase a variation of my 2D level pipeline. It enables 3D URP lighting for SpriteRenderers through a custom lit shader with normals that can be affected by 3D lighting.

3D URP variation based on my 3D Lit Auto-Normal Sprite Shader

For composition and music production, I've been using FL Studio, which is my favorite digital audio workstation since the year 2010. I compose and produce music using a viola, MIDI keyboard, and the piano roll, while extensively making use of automation for parameters and VST plugins for virtual instruments and sound FX.I compose music across a wide variety of genres, including rock, neoclassical, avant-garde, medieval, metal, new age, and synth. Some of my tracks are available for preview in the Track Archive, a custom audio player I have designed for demonstration purposes.Over the course of my career, I've made uncredited contributions as a ghostwriter besides having released many singles and albums under my alias, Ms. Dysphoria. Some of my works are available on SoundCloud, Spotify, and Apple Music. For more details: Music.Below is a playlist on FL Studio for a track I composed, serving as a proof of provenance and human authorship. In my vault, I keep countless project files, backups, and MIDI sequences for my works.

In terms of audio engineering, I design and manage audio samples as well as develop audio systems within the Unity Environment.When designing samples, I make use of VST FX plugins and tools, such as Edison, Convolver, compressors, limiters, EQs, and reverbs. In addition to these, I have experience with controller plugins within FL Studio, including the Fruity Formula Controller.I record and create my own samples, or work with public domain and royalty-free recordings as source material, while recognizing such externally sourced recordings can cause complications with YouTube Content ID, Meta platforms and other detection systems, which is why I prefer not to rely on them in professional projects.

When managing assets, I use Audacity macros to batch-process large quantities of clips, handling normalization, fade curves, equalization, and format conversion optimized for Unity Engine. For large-scale organization, I use Bulk Rename Utility to manage naming conventions for audio clips, as well as my custom script which allows me to easily create as many AssetBundles as there are clips while using their filename as the AssetBundle ID.In my past experience, I worked on several MMO projects where I managed large quantities of audio samples and bundles, as well as developed interactive and optimized Unity-based audio systems.

When developing Unity-based audio systems, I make use of native audio FX components and AudioMixers. A typical system I build starts with creating AudioMixers for categories such as UI sound FX, in-game sound FX, music, and dialogue, and then assigning AudioSources to the appropriate mixers for channel management.I create a ScriptableObject containing arrays of AudioClips and store relevant sound effects together, such as footstep sounds depending on terrain or item pick-up sounds depending on type. This approach makes AudioClip management easier, keeps sound data organized, and allows randomization, which I find essential for creating immersive auditory experience. Pure randomness can produce unnatural repetition, for this reason I prefer pseudo-random selection: dynamically tracking recently played clips and avoiding them during playback to keep sound effects natural.I further improve this method by introducing randomization for pitch, volume, location, and filters such as High-Pass & Low-Pass. To keep variations sounding natural, I implement upper and lower values in order to cap randomization to reasonable levels.In the audio module, I also implement optional randomization for playback start times and duration alongside fade-in and fade-out through interpolation. As an example, audio would start playing from a random point and the volume would fade-in through a coroutine, last for a set or randomized duration, and fade-out. In this way, there would be greater variation for specific sounds.I add a coroutine for managing AudioSources and dispose of them. When optimization is a concern, I implement a pooling system. Additionally, I expose a variety of AudioMixer parameters and utilize them in several ways, such as shifting audio frequencies through interpolation depending on conditions. As an example, curbing high frequencies through Low-Pass for in-game music and sound FX AudioMixers during menu or other suitable screens.Below is an audio module I developed for my game project Sprout, adapted to HTML as an interactive web demo for demonstration.

This is the first audio system I developed with the aim of creating a system that would generate environmentally fitting and natural sounding interactive sound effects for immersion.Floors had types, optional script features, and tracked wetness value, which rain increased whereas clear weather gradually decreased for floors affected by weather conditions. Player speed was utilized for calculating the rate of occurrence for splash and wood creak sounds as well as for adjusting the audio frequency for the sound effects to introduce interactive auditory experience.This system utilizes randomization with pseudo-chance for clip selection to prevent repetition and produce natural sound effects.

This one is a Unity-based Android app I developed and partially adapted as an interactive web demo. It's an atmospheric pad making use of multiple audio sources, crossfade, and frequency shifts to generate sound, featuring some of the horror themed samples I created. It was an experiment on virtual instruments and will be available once I possess the necessary credentials to release on Apple Store and Google Play. For more info: Mobile.These are some of my interactive audio systems I worked on solo and there are several others I developed, mainly for MMO projects. In the end, audio is my specialty and this concludes the section.

Interface Development & Design
Graphical UI & Procedural Generation

Animation & Video Editing
Puppets, Filmmaking & Unity Engine

Play

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The examples above are UI created within the Unity environment. I designed the layout and elements, developed the back-end and the front-end, animated through coroutines, and created the background levels from scratch, based on 2D and 3D URP.When I design interfaces, I make sure they support a wide variety of popular aspect ratios through proper use of anchors and Unity's interface components. I have years long experience in developing procedurally generated interfaces for character and world editors. I make use of layout group components and develop Prefab-based instantiation systems to populate the interface for editors.Below is an editor I developed and designed for an MMO project. More information and technical details are available here.

For animation and video editing, I use After Effects, Filmora and FFMpeg. I am familiar with 2D rigging, puppet animation, sprite sheets and Unity's animation system. I do not possess in-depth experience in creating 2D or 3D animation. I have relatively more experience in video editing, as I frequently do social media content creation, as well as in editing, integrating, or working with 2D and 3D animation within the Unity environment.Above is my most recent animation, Wendy the Wendigo, which I created from scratch in a 5 hour long speedrun on bringing a creation to life. I used a sketch I'd drawn on a skin paper for a tattoo, created line-art, painted, animated, voice-acted, edited into a video and prepared a time-lapse as proof of provenance.When it comes to Unity Engine's animation system, I am familiar with triggers and bools, designing animation clips, crossfading and blending, targeting bones, animation weight and states, and adjusting inverse kinematics for dynamic animations.As extra details, I make use of several After Effects plugins, such as Saber and AEJuice. Outside the Unity environment and content creation, I also work on animated banners, profile pictures, and ads. I'm familiar with animated visual formats such as GIF, WebM, WebP, and APNG, while knowing where to deploy them effectively.

3D Character Design
Texturing, Shaders & Customization

3D Hairstyling
Design, Optimization & Customization

When it comes to texturing, my specialty is skin and facial details, including eyebrows, eyelashes, beard, makeup, tattoos, scars, and various skin imperfections. I have created numerous textures and maps for character customization in live MMO games.Depending on the asset, I either hand-paint textures in Photoshop 3D Workspace and Blender, or work from real-life photographs by morphing them, extracting details, and working them into game-ready textures for character models.I have worked with character customization shaders for the face and body, including the eyes, eyelashes, and hair. The examples above show my base textures, blendshapes, ported hairstyles, and modified PS2.0 shader with auto-normals on the same head mesh. When character shaders support multiple layers for in-game user customization, I prepare maps for them separately and according to the requirements of each layer, as exemplified below.

There is no limit to customization except for the limits of shaders and GPU

In addition to creating maps for customization shaders, I have also worked directly on such shaders, adjusting shader methods, UV layer placement, and calculations to a degree. Back in the day, I was working with Pixel Shader 2.0, which had constant-register limitations and allowed at most 32 variables to be controlled at runtime. I would pack multiple controls into float4 values in order to bypass that limitation and increase options for customization.As a practical production example, I designed eyebrows and beard in grayscale and on a black background, and used the same source both as a texture and as a heightmap, automatically converting the heightmap into a normal map at runtime through a shader I modified for this purpose. This effectively removed the need to create separate normal maps manually, automatically generated normal maps for hundreds of already available options, improved the visual quality, and made the workflow more time-efficient.In MMO environments, I handled the management of 2D assets, most of which contained textures and maps for customization. There were thousands of AssetBundles, which led me to develop workflows in order to effectively manage such large quantities, frequently utilizing AssetStudioGUI to inspect bundles, macros in Photoshop in order to batch-process textures, Bulk Rename Utility to manage naming conventions for texture files, and my custom Unity Editor script to automatically name AssetBundle IDs based on their filenames before bundling them for integration.Regarding blendshapes, I have experience in creating them for body and face, as well as separate morphs for individual parts such as the nose, lips, and jaw. When I design blendshapes, I take care with additional meshes such as eyes, mouth, and eyelashes through masking, in order to prevent clipping and visual artifacts. When supported, I prepare blendshapes for them separately and in a way that they can perform seamlessly with the mesh for head, by maintaining the same blendshape order and setting their blend weight together through the SkinnedMeshRenderer API.The examples are blendshapes I designed for face customization under the constraints imposed by such additional facial meshes.

Hairstyles are my specialty in 3D modeling. I have created and ported numerous customizable hairstyles for MMO games, mainly weight-painted and low-poly, ranging from 5K to 10K polygons, suitable for the performance needs of MMO environments.I build hairstyles either from my own hair cards or by adapting provided meshes to character models, optimizing polygon density while maintaining topology suitable for animation. I fix visual artifacts such as hair clipping, adjust UV maps and vertex groups for cards, prepare textures for hair including scalp, transfer and refine weight paint to ensure smooth deformation for animations, and design tri-color gradient masks for hair color customization.I additionally create blendshapes to introduce compatibility with head accessories as well as blendshapes for user customization. When I create LODs for optimization need, I make sure to preserve the keys through decimation to prevent artifacts from distance.

Elastic Deform & Pose are my favorite tools on Blender

In my workflow, when I prepare scalp textures, I either use them as a map for the head mesh when supported by the shaders, or prepare a separate scalp mesh and integrate it into the hairstyle.Additionally, I have experience with hair physics. I can groom Alembic hairstyles, integrate them into the Unity environment, develop supporting systems for physics (e.g., weather), and tweak simulation settings for better visuals and stable performance. I've primarily worked with Unity's com.unity.demoteam.hair package.As a technical example, when optimizing or weight-painting hair, short hairstyles affected only by the head vertex group can be decimated aggressively and weight-painted fully in red, whereas long hairstyles affected by several vertex groups (e.g., breasts, chest and clavicles) require a more delicate approach in polygon optimization and weight-painting. In those cases, decimating the static head part and carefully reducing or even increasing the polygon count for those affected areas is required to ensure smooth deformation during character animation. Intersections affected by multiple vertex groups, such as the middle parts of the chest and back, need to be painted carefully in order to prevent clipping between hair strands in the area.As another technical example, when preparing color masks, I use black-red-yellow as well as black-green transitions, substituting green for yellow when the mask needs to transition directly from black. Black-to-yellow gradients can be unreliable as they raise multiple color channels together, which can cause unwanted blending depending on how the shader interprets the mask. In the example below, I separated the UV map for specific hair strands and assigned them a separate UV area for different coloring.This method, which I developed after discovering the black-to-yellow transition problem long ago, proved effective at the time, allowing greater variations in hair color customization than using a single black-red-yellow gradient map across the entire hairstyle. It is useful when needing to work with a single element, otherwise a more practical approach would be creating and assigning hair strands different elements in Blender and separate color masks.

3D Clothing
Preparation & Integration

3D Prop Design
Hard Surface Modelling

While I do not possess extensive experience in creating original wearable models, I've worked on numerous wearables and gained experience in modifying, preparing, optimizing, and integrating them as customizable game assets within the Unity environment. The examples above are not my original works but meshes that I was tasked with preparing and integrating into an MMO project.My workflow involves adapting meshes to fit character models while preserving clean topology, painting item masks to hide body parts to prevent clipping, preparing UV layouts for supported maps, creating color masks or separate material elements for in-game color customization, and refining weight painting according to the requirements of each wearable type. As an example, skirts require a more delicate approach as they are influenced by multiple active vertex groups, including the lower torso and both thighs. These areas need be painted carefully to ensure proper deformation and to prevent clipping during animation. In addition to these, I also create blendshapes for player customization, such as adjustments involving skirt length, visor curve, or cape width.When optimizing assets, I aggressively decimate static wearables, such as hats and rings, as well as largely static sections of deformable wearables, such as the hood portion of a hoodie and rigid surfaces such as buttons and metal accessories. For actively deforming regions, such as shoulders and knees, and for softer materials such as cloth and leather, I carefully reduce and selectively introduce polygons while maintaining clean topology. This allows the mesh to deform naturally during animation without excessive stretching or other visual artifacts. Additionally, I manage maps and shaders, prepare LODs for performance optimization, design fitting icons, and lastly integrate as assets.Should the need arise, I can also create original wearable models after training and adaptation in Blender and Marvelous Designer.

Besides hairstyles, I also design 3D props. I use reference images and recreate them as meshes, and at times I improvise blueprints and create my own designs. The examples showcased in this section are my improvised works without relying on a reference.My workflow prioritizes speed, aiming for artifact-free results with clean maps and normals, without spending unnecessary time on fine topology for static meshes not requiring morphing.

Integrity Verifier

ㅤBulk Replacer ⚠

Backup Automator

ㅤFile Shredder ⚠

Cryptic Transmitter

Advanced Rich Presence

Automated Whitelister

Anti-Whitelister

Rich Presence

Plugins

Bots

Webhooks

Group Design

Embeds