MARK WAHLQUIST
PORTFOLIO
Marvel's Avengers
On this game I was a Map Lead, that meant I ran the art along side a Design Captain for various chapters of the game. I managed Artists, Out Sourcing, and worked directly with designers. The Chapters my team got were the most custom and requiring a lot of really clever solutions. Eventually my team became the 'Boss Team' where we were still managing our Cinematic levels, but we also did all the boss fights for the game. I was very proud of the work we did, many of the things we pulled off were considered impossible or too difficult to do at some point-but then we found a way.
On this game I was a Map Lead, that meant I ran the art along side a Design Captain for various chapters of the game. I managed Artists, Out Sourcing, and worked directly with designers. The Chapters my team got were the most custom and requiring a lot of really clever solutions. Eventually my team became the 'Boss Team' where we were still managing our Cinematic levels, but we also did all the boss fights for the game. I was very proud of the work we did, many of the things we pulled off were considered impossible or too difficult to do at some point-but then we found a way.
Modok's Arena
The final battle of the main story, this arena was built modularly with every element of the arena destructible. There are a several different destruction systems, it's impossible to create the same destruction story twice. Modok can also take control of elements in this space. I had to work very closely with design and I'm very proud of the solutions we came up with.
The final battle of the main story, this arena was built modularly with every element of the arena destructible. There are a several different destruction systems, it's impossible to create the same destruction story twice. Modok can also take control of elements in this space. I had to work very closely with design and I'm very proud of the solutions we came up with.
Abomination's Arena
This was a main story boss fight where Hulk had to beat Abomination, the fight happened in two stages, one outside the Gamma Reactor and then breaking through the floor into the heart of the facility. Massive amount of destructible content in both areas.
This was a main story boss fight where Hulk had to beat Abomination, the fight happened in two stages, one outside the Gamma Reactor and then breaking through the floor into the heart of the facility. Massive amount of destructible content in both areas.
Tony goes to Space
The AIM Space Station where Captain America gets rescued by Ironman about half way through the main story. This was one of the most exciting and cinematic parts of the game, it was an awesome collaboration with design. This was one of the most heavily art directed, painstakingly lit, massively design driven, and challenging to get to run at frame things I have ever done in my career. It was very difficult, but it was one of the highest ranked elements of the game. I had a fantastic team for this area, some epic talent.
The AIM Space Station where Captain America gets rescued by Ironman about half way through the main story. This was one of the most exciting and cinematic parts of the game, it was an awesome collaboration with design. This was one of the most heavily art directed, painstakingly lit, massively design driven, and challenging to get to run at frame things I have ever done in my career. It was very difficult, but it was one of the highest ranked elements of the game. I had a fantastic team for this area, some epic talent.
Golden Gate Bridge
The opening for the game, I worked on the bridge section along with all the destructibles. I had to come up with a way to destroy the entire city in the background, and I had to do it very cheaply because we had no frames to spare during those shots.
The opening for the game, I worked on the bridge section along with all the destructibles. I had to come up with a way to destroy the entire city in the background, and I had to do it very cheaply because we had no frames to spare during those shots.
Kit Work
TOMB RAIDER
World Building for 'Rise of the Tomb Raider'-The shots here are areas where I did a significant amount of either world building, modeling or both.
World Building for 'Rise of the Tomb Raider'-The shots here are areas where I did a significant amount of either world building, modeling or both.
COLD DARKNESS
This was part of the third DLC package for Rise, aka Zombie Mode, it was an enormous play space with 4 towers that made up a cold war era Soviet Installation. This was the most traversable space that was done for Rise and needed to be designed around systemic randomizations so that players never had the same experience twice. I had the opportunity to be Map Lead on this level and to run the Environment Art team during it's creation.
This was part of the third DLC package for Rise, aka Zombie Mode, it was an enormous play space with 4 towers that made up a cold war era Soviet Installation. This was the most traversable space that was done for Rise and needed to be designed around systemic randomizations so that players never had the same experience twice. I had the opportunity to be Map Lead on this level and to run the Environment Art team during it's creation.
SOVIET VALLEY AND BEAR VALLEY
These are two open areas for exploration, the Soviet Compound was the largest explorable space to ever be in a Tomb Raider game up to this point. I feel like we did the best snow I've seen in a game, and I did initial R and D on the deformable snow tech.
These are two open areas for exploration, the Soviet Compound was the largest explorable space to ever be in a Tomb Raider game up to this point. I feel like we did the best snow I've seen in a game, and I did initial R and D on the deformable snow tech.
GEOTHERMAL VALLEY
This was another of the open exploration spaces, this area was surrounded by the snow and was warmed from below so it was always misty and felt warm, cold, steamy, and damp all at the same time.
This was another of the open exploration spaces, this area was surrounded by the snow and was warmed from below so it was always misty and felt warm, cold, steamy, and damp all at the same time.
TOMB RAIDER GAME ASSETS
Assets I created for Rise, I also did a significant amount of material and texture work-but because we use a PBR pipeline I can't claim every map that shows up in this section.
Assets I created for Rise, I also did a significant amount of material and texture work-but because we use a PBR pipeline I can't claim every map that shows up in this section.
TWISTED METAL
This was the seventh Twisted Metal game, it came out in 2012 and was a PlayStation 3 exclusive. These are a few of the buildings and areas I worked on.
This was the seventh Twisted Metal game, it came out in 2012 and was a PlayStation 3 exclusive. These are a few of the buildings and areas I worked on.
STICK FIGURE COMBAT AND GIANT MINOTAUR
While I was at Eat Sleep Play I had the opportunity to do several pitch projects, the work here comes from 2 of those-the stick figures were for a 3rd person shooter and the Minotaur was for a reboot of 'War of the Monsters' for Sony.
While I was at Eat Sleep Play I had the opportunity to do several pitch projects, the work here comes from 2 of those-the stick figures were for a 3rd person shooter and the Minotaur was for a reboot of 'War of the Monsters' for Sony.
OLD PROJECTS
Personal work.
Personal work.