Good Enough
Updated 3 years ago
No planet, just a star and whats lefts of their paradise...

Final Submission Video

edit - we are sorry but we have to upload beta version of our final submission videos due to health problems of our teammate responsible for the video sequences. We are really sorry for the quality and random bugs in it but we don`t have any time for exporting the final version.

Project Overview


They left Earth for a new planet many light years away. Their ship was thrown off course by an errant blackhole along the way.

Good Enough begins with a colony ship that is forced off course and instead of 50 years to reach its goal it has taken them thousands. Once they arrive, they find that the world they had set out to inhabit was destroyed in a war among civilizations that they knew nothing of.
The world now consists of a debris field populated by massive floating chunks of what is left of the planet. Ruins from the civilization that had been there can be found on and within this debris. Not able to return to Earth, trapped in solar system with remains of planets bodies, with no fuel to go anywhere, the inhabitants of the ship begin the task of establishing a settlement within the what`s left of their promised paradise.
Our story takes place several centuries after the initial settlement. People are packed together in dense pockets built on and in the chunks of planet. Massive hydroponics, fungus farms and enclosed grain fields feed the people and supply them with oxygen. Some of the more adventurous of the inhabitants scavenge the ruins of the civilization that had the planet before them. Scavenging is dangerous, often fatal, but one discovery can change their life and the colony forever.
Our scenes begin with the sister of one of these scavengers. His brother has located something big, something powerful and something that might just tell them why the planet was destroyed in the first place. In order to find and save her brother, if he is still alive, she must avoid the people that want his discovery, find and equip herself with the ancient tech she finds along the way and learn the secret that destroyed a world.
We are imagining a very cinematic driven game with a heavy narrative. We have included several scenes in our submission that reflect the world, story concepts and visual style we have imagined. These scenes are cinematic cut scenes that focuses on one of our characters.
We have drawn heavily on our love of Science Fiction for our story line. In particular the Sci-Fi Noir films of Dark City, Children of Men and of course Blade Runner. The look and dramatic beats of these films have given us a basis for the visuals and story we wish to create.

Additional Visual Inspirations:

Step One - Let it be light!

We knew that the light will be the most important factor for this challenge. I have been interested in SEGI at the moment they announced it and was eager to test it, even more when the project went open source. Stanislav and Gabriel are Cinema 4D users and SEGI workflow is pretty close to what they have used to do with setting lights for rendering with it - using a lot of fake light sources to achieve the result they want. SEGI is slow for most of the game types but we wanted cinematic quality, scripted scenes and really little player interaction so 30FPS was quite acceptable for us.
Unity post processing stack was working well with SEGI but later on we switched to V2 and the result was several times better. Especially the Bloom effect and the SSR!
We switched several solutions for volumetric fog and lights - also something we expected to be crucial for the final look of our scenes - but HITBOX Team - Hx Volumetric Lighting won our hearts with stunning visuals and plenty of controls, we so much needed.

Step Two- Let it be ... Kit bashing!
A lot of people got the wrong assumption that when you use art from the Asset Store it will ruin their art concept and will be quite hard to fit in their project. I`ve seen people who really think it will look in their game exactly as in the store pictures. This is so much wrong! The light and the shaders in a scene are determining how the art will look.
The process of "Kit bashing" requires a lot of creativity and thinking about the end scene. Thinking about how this asset will fit immediately will mostly hurt your will to experiment. The trick is to do not put restriction to your creativity, the resulting forms and silhouettes will push you to look at angles you will be surprised exist.
But the most overlooked part is the textures Kit bashing. Let me show you some examples:

Same mode but using the Unity Standart shader Secondary Map feature we were able to add not only additional details but to transform assets to really different ones.

The more textures you have under your disposal the better. It is a random process of experimenting and adjusting which can lead to some pretty good results and if something is not quite like you need it - edit in Photoshop!
In this way of working, keeping everything organized is the key. You need to keep all repeating objects under one object so later on you can easy find and select them in order to change the material or add script to them. Never forget to make a copy of the original material, this will save you a lot of headaches later on especially if you are working with other artist.

Step Three - What is going on?

We decided to go wild with the Kit bashing process and later on fill what we miss with our own assets. We have this crazy idea to make 2 scenes one to be precursor of the main one. It is actually one scene for us as the idea is the character to go out and inside the apartment Pods.

The Pod Apartment

This needed to be very different from the rest, made with close camera shots in mind and visually more clean and simplistic from the rest. This was the second scene we started working and we decided to reverse the process. Stanislav designed and modeled the only window in the room and the whole wall with it. The model was very hi poly since we wanted all curves smooth and were planning to make a really small scene. No UV mapping - we have used the excellent materials and shader from Zero Gravity Part One asset which does not require models with uv maps. A pretty helpful method of texturing while conceptualizing. The apartment is connected with the Pod Apartments street scene and actually everything is in proper size.
The major role in the scene atmosphere was coming from the window and we wanted it to be really good. We used modified Amplify Shader example shader ParallaxWindow - just added transparency to it and a behind the glass there is second glas model with simple glow only shader. Second part of the room was the huge holo monitor which main purpose was to dynamically lit the whole room.

The Pod Apartments street

Main environment scene where the player end up getting out of the pod apartment. We imagined very complex scene full with people and flying robots and ships. First we continued modeling the Pod apartment from the wall used for the interior.
Then textured it in Quixel for the final model
When we got the initial shape we continued with the same technique - adding details via kit bashing.
The street itself needed to be really convincing and dirty.
We have started with only one block - pod and the street just below it.
When we decided we have enough details that we wont to be everywhere we cloned it , making a single line of pod apartments forming the street.
We wanted the player to see as huge as possible neighborhood of Pod apartments so we cloned the line of apartments for the upper layers. Before that we needed to remove all elements that was not essential because otherwise the scene would become pretty heavy. Surprisingly Unity was so behaving so good even on my older computer and handling 50 million polygons was not a problem at all.
Important for working with huge scenes like this one was smartly separating the scene into different scenes and loaded together made the complete environment.
This allow us to treat the scenes as layer in Photoshop and separate the tasks between the team members. This may sound like small deal but this is the most important workflow trick that every small team needs to learn and master. We used one main scene, then a scene for the cameras and the NPC characters, one scene for all props that emit light or are animated but with looping animations that not require any control and separate scene for all animated ships, drones - everything that is character.
Some crazy ideas we got about using Assets form the store:
Is actually free asset of the talented CGPITBULL - Free SF Fighter

Escalators on the ground and the small parts attached at the Pod apartments
Is actually the incredibly detailed and well made
The Probe from the MACHIN3

Step Four - FX

Years ago back to the days where we used Unity 3D 3.4 we needed fog, and Stan uses a neat trick that was so nice we ended up using it even now - big plane with particle additive material put at the far back of the view to simulate fog. We used also one tinted to violet for the bottom. The plasma texture adds irregularity that makes it even more believable.
We used the Unity Effects Example pack which is excellent start for everything you need. With Post Processing Stack V2 the bloom just needs a cookie texture.

Pod video holo wall was done with two planes - both playing the video but with different shaders - one modified particles additive with a stronger emission parameters and the other particles multiply double. The second shader act as threshold so the screen dont bleed the white colors and the screen light is more evenly spread.

Step Five - CineMachine

If lights are one of the most important things - the camera work is definitely the other. Using CineMachine require some reading and experimenting - especially if you want to control a lot of animations and with the new Post Processing Stack , things can get pretty complex there. Luckily the interface of the Timeline is build exactly with this in mind.

Assets from Unity Asset Store used so far:
  • Carbon Texture Pack #EDNO - FREE
  • Abandoned Base Level Design Props
  • The Probe
  • SCI-FI Panels Megapack
  • Sci-Fi Laboratory Pack 2
  • Nemesis Carrier Spaceship
  • Zero Gravity Part One
  • Nautika Spaceship Pack
  • Post Processing Stack V2 and Cinemachine from Unity
  • Free SF Fighter
  • Hx Volumetric Lighting
  • MCS Male: Sci-Fi Bundle 01
  • MCS Female: Sci-Fi Bundle 01
  • Music and SFX - Dark Matter
The project is using SEGI for lighting solution - can be found here
Danny Bannister
Director - Executive
Blair Renaud
3 years ago
CEO/ Director
Love the title. haha