Your sculpt is done and already has a game mesh, so now you build a plain collision shape for it and get Unreal to treat that shape as collision instead of something players can see. This is a collision-only follow-up to the ZBrush sculpting posts 132 and 160: you will not sculpt, retopologize, bake, or…
Add an AnimationTree to your existing Godot 4 character so it blends from idle to walk based on how fast the body is already moving. This is a different slice from our Godot 4 character controller post: that one wrote the walking, turning, and falling code, while this one leaves that code alone and adds…
Build a Godot 4 3D body that walks across a floor, turns to face where it moves, and falls with gravity, and nothing more. A character controller can grow into a huge system. Jumping, crouching, climbing, combat, and networking all pile on fast. This guide does none of that. You will build one movement slice:…
Take a single prop from Blender into Unreal Engine 5 with the right size, the right facing, a clean material slot, and collision that matches its shape. Your first export from Blender into Unreal usually goes wrong in a small, annoying way. The crate is the size of a house. The door faces the wall….
Take one game prop from untextured mesh to engine-ready base color, normal, and roughness maps in Adobe Substance 3D Painter. Texturing gets easier when you finish one object all the way. This guide uses a single prop, a wooden crate with metal corners, and runs it through the full loop: bake, base material, edge wear,…
You will rig one simple low-poly character with game-friendly deform bones, add an IK leg setup, animate a short walk cycle, and export only what your engine needs. Film rigs are built for one shot and a patient animator. Game rigs have a different job. They need to play back cleanly in an engine, blend…
You will build one procedural fence in Geometry Nodes, tune it with two sliders, and turn it into a plain mesh that any game engine can import. Geometry Nodes lets you describe how a model is built instead of modeling every piece by hand. For a solo developer, that matters most on boring, repeated props….
A CryEngine character is not one file. It is a skeleton, a skinned mesh, at least one animation, a material, and a character definition that points at those pieces. This workflow gets one humanoid into the Character Tool, playing one animation, with one attached prop. It does not cover facial rigs or a full locomotion…
Take a game character past the clean blockout stage in ZBrush with deliberate secondary forms, separate hard-surface and organic workflows, non-destructive layers and noise, and a map handoff your engine can use. You already know the basic loop: DynaMesh blockout, big forms, subdivision levels, then a low-poly mesh and a normal map. This guide covers…
ZBrush is where a lot of game props and characters get their forms. Godot is where those forms have to import, shade, collide, and run. The handoff fails when the high-resolution sculpt is what you try to ship. This workflow is the boring path that works: sculpt, rebuild a game mesh, bake maps, export a…