The Making of My Game
Goldanniyatech

Pipeline Overview
Modeling
Animation
Texturing
World
Gameplay
Timelapses

Introduction

I'm developing alone and from scratch (without external assets or plugins) my game Goldanniyatech since 2018 (made official in 2021) with the following tools:

Unreal Engine 5 for gameplay programming (Blueprints & C++) and world creation
Blender for modeling, sculpting, and animation for every single asset
Substance Painter for creating every PBR texture
FL Studio for creating lightweight sounds and music (not a specialist of FL, though)

I don’t use generative AI to automate modeling or programming tasks. While I do use this tool for brainstorming, learning, and skill improvement, I believe that hand-crafted models and code is the only way for me to maintain full control over my game's quality and creativity.

Other Activities

Alongside developing my game, I have been teaching Computer Science in higher‑education institutions since 2022 and completed my PhD thesis on the semiotics of 3D game development from a technical standpoint at Sorbonne University, which I started in 2018 and successfully defended in 2024.

Benchmark Demo on Epic

Terminology

I mix both Unreal Engine, Substance Painter and Blender terminology. For instance, a Skeletal Mesh doesn’t have a real equivalent in Blender. We can talk about the Armature modifier or a bone-based animated mesh, but it’s cleaner to use unreal Static & Skeletal Meshes. Hard Surface and Organic distinction is meaningless here, as a Hard-surface model can have an armature with bones (a factory machine) while an organic model can be a Static Mesh (a statue or an non-animated action-figure).

Pipeline Overview

UnrealEd interface showing my Goldanniyatech project

Game Engine: Unreal Engine 5

I have deep expertise in Unreal Engine 5 as a solo developer, with a focus on gameplay systems, open-world environments, animation scripting, visual effects (Niagara), and NPC artificial intelligence (behavior-driven, not generative AI).

I have deep knowledge of engine architecture and best practices (smart pointers, UBT, UHT/reflection, GC, UObject lifecycle, CDOs) and extensively use Unreal Gameplay Framework (GameInstance, GameState, PlayerState, SaveGame). I tend to follow Unreal’s opinionated architecture.

I program in Unreal C++ low-level base classes with several Blueprint-exposed member variables (properties) and member functions (methods).

I use Blueprints for prototyping (Construction Scripts, Timelines, delegates, interfaces) and instantiating my custom C++ classes. I mostly rely on C++ as Blueprints will be deprecated in a future UE 6.X release in favor of Verse.

As an open-world specialist, I mostly work with World Partition (HLODs, Data Layers), optimize meshes rendering & reduce draw calls (ISM, HISM, Packed Level Actors, custom C++ culling, master materials & instances), and use a modular workflow (Level Instances, Blueprints' Construction Scripts).

I also work with materials (Master Materials with parameters, Material Instances), Enhanced Input, Animation Blueprints, Niagara systems with complex emitters, rudimentary Artificial Intelligence behaviors (Behavior Trees, Tasks)

Magical horse from the game Goldanniyatech

3D Graphics: Blender & Substance Painter

I have extensive expertise in Blender and Substance Painter as a 3D generalist, creating both hard‑surface and organic models of all kinds.

I create all my stylized assets entirely from scratch in Blender, starting from primitive geometric shapes (cube, sphere, torus, etc.). I never rely on 2D blueprint references or concept art; instead, I block out forms directly in the viewport.

My modeling approach is based on traditional polygonal modeling techniques using basic operations (edge loops, extrusions) and non-destructive modifiers (mirror, array, subsurface). I rarely use sculpting unless I need to reshape the overall structure of the mesh. I also do quick UV unwrapping while ensuring it's optimized for the engine (no overlapping UV islands, optimized texel density)

For animation, I use keyframe animation to test basic models before exporting, and I handle rigging and skinning for my organic meshes for armature or bone-based animation (with custom rigs only). I no longer use Shape Keys to avoid custom vertex deformation and use reusable bone-based animations for Unreal.

I export all my models in the FBX format and solve issues when needed (normal orientation, scene scale for animated rigs, exporting deformation bones). Although I'm still with FBX, I'm also knowledgeable in USD and glTF exporting to prepare for Unreal Engine 6.

For texturing, I work in Substance Painter with a semi‑stylized PBR art style. I bake directly from my low‑poly meshes (without HPM) and use generators, smart materials, and filters.

Modeling

Modeling & Sculpting

I create all my 3D models entirely in Blender, starting from simple primitive shapes like cubes or spheres. As I don’t need to respect size accuracy, I never use on-scene image references or blueprints (not to be confused with Unreal Engine’s Blueprint 😅).

I mainly rely on polygonal modeling techniques, which give me precise control over my meshes’ topology. It’s also the techniques I’m mostly familiar with 😁.

Sculpting is something I use very occasionally.

I keep procedural modeling to a minimum, mostly limited to a few non-destructive modifiers like Subdivision Surface, Mirror or Array.

I experimented with Geometry Nodes, but I ended up abandoning that. I really like to have full control and using nodes is really not enjoyable for making assets.

Amber Car from the open-world game Goldanniyatech

A Raptor truck from Goldanniyatech, made with Blender

A Wolf from Goldanniyatech, made with Blender

The main Mansion gate from Goldanniyatech, made with Blender

Modeling Technical Deep Dive

To start making 3D models, I always prepare my scene based on what I need to create, first by tweaking parameters for the Solid viewport shading (Cavity, etc.), then by changing some properties, such as changing Blender’s unit scale to 0.01 and the near and far clipping planes of Blender’s camera frustum if it’s for a Skeletal Mesh in Unreal Engine.

I currently follow Unreal’s traditional X+ (Forward) orientation for exporting for Unreal Engine 5. I’m aware of current UEFN coordinate change to the Left-Up-Forward (LUF) that will be ported to Unreal Engine 6, but I do not take it into account as I’m not sure whether we’ll have a checkbox in UE6 to use the legacy orientation and how reliable it’ll be for my own models, especially for my Skeletal Meshes (I don’t think any problem would rise with my Static Meshes 😅).

Obviously, I delete the Blender cube, it’s the most important step 😎.

My modeling workflow always starts by blocking out basic shapes on the fly, without relying on orthographic Blueprint references nor concept art, since my game has a stylized art style without realistic proportions. I look for images on Pinterest or somewhere else, but always try to take inspiration from many different objects.

I still use each object’s Transform world-space dimensions to make sure I still have decent proportions, and sometimes export my meshes (in FBX of course) very early to see how they look in my game.

Because I’m used to it, I create the majority of my meshes through a polygonal modeling workflow by starting with basic primitives like a cube, a UV Sphere, or a torus. I try to keep a good topology for my meshes, especially Skeletal Meshes for deforming areas.

UV Unwrapping

UV unwrapping is often considered a tedious process, hated by many of my students 😅. After years of practice, though, I’ve gotten used to it. Since I work on real-world models for my game rather than pure portfolio assets, my goal is to create functional, clean UVs in Blender.

I typically mark seams during the modeling process (though sometimes I forget 🤓), then I almost always use an Angle Based unwrapping method so it’s easier for me to recognize parts later.

I’ve experimented with auto-unwrappping in Substance Painter (on the Carminic Candle model shown later and displayed in-game in the Halloween Adventure Zone), but I really prefer a manual, more controled unwrapping.

I try to work as quickly as possible, though, while ensuring my UVs are properly unwrapped so I can create high-quality textures later. Thus, the result is never perfect, as most real-world projects are far from flawless portfolio assets, but it’s still good enough to suit my needs.

Animation

Bone-based Animation

As I’m making a stylized game, I handcraft every single animation from scratch in Blender, without any motion capture or existing data. It gives me the ability to create exaggerated, expressive movements, inspired by some amazing 3D animated movies.

However, the downside of my approach is that… I only create a very, very limited amount of animations (I learned to limit myself the hard way).

Obviously, as it’s impossible to export, I only prototype keyframe-based animations (adjusting position, rotation, or scale of objects) in Blender, mostly for things like door movements. Then I script everything with Blueprints directly in Unreal Engine as these animations are typically handled by the engine.

When it comes to organic models (characters, animals and monsters), I create custom armature in Blender and make animations by hand. I never use Rigify as I want to work on custom rigs only for better performance.

Texturing

PBR Texturing

For texturing my models, I mostly use Substance Painter. From time to time, I also use Photoshop to fix issues with some textures or create fictional posters and advertisements displayed in my game.

I have always been a big fan of painting textures directly on the model, rather than creating them in Photoshop based on the UV layout. Today, I specialize exclusively in stylized 3D models, and working with the PBR (Physically-Based Rendering) shader is quite challenging for that, to say the least.

Building the World

Shark Traveler Train from Goldanniyatech

FilmBoX Exporting & Importing

I export all my models using the well-known proprietary Autodesk FBX (FilmBoX) file format. In my experience, it’s straightforward to use and well-supported by Unreal Engine.

That said, there are a lot of tricks for importing a model correctly into Unreal, such as applying scale or changing scene units in Blender (for animated models). But after plenty of trial and error, the process becomes much easier and more predictable.

There are a lot of ongoing debates around the “best” format for real-time 3D assets, or how FBX might get replaced by glTF, USD, or other formats. Personally, having used FBX for years, switching to a new format should only be considered if absolutely necessary. Most issues and workarounds with FBX are already well-documented. I would go by the motto “Don’t fix it if it’s not broken”. It may not be prefect, but it works. That’s what matters for now.

Golden Avenue from the game Goldanniyatech

Unreal Engine Editor with Goldanniyatech open-world level

World Partition Map

Using Unreal Engine 5, I build the virtual universe leveraging the powerful World Partition system, even if it’s just for my teeny-tiny city 😅. I mostly place assets by hand and tend to avoid creating modular assets or scripts, as there is always a trade-off between generic modularity and unique detail.

This way, every building and location in my world feels distinct and carefully crafted, giving the environment its own personality and charm.

Gameplay Programming

Blueprints from the Cerulean Car in Goldanniyatech

Unreal C++ Programming

I use a lot of Unreal C++ to program base classes for most of the AActors I use in the game.

Besides, I wrote every useful Unreal Framework class in C++ (GameInstance, PlayerState, GameState, etc.).

Blueprint Scripting

As a C++ programmer and someone who’s very visually oriented, I genuinely enjoy working with Unreal’s Blueprint visual scripting system 😅!

It’s an incredibly effective way for me to prototype and iterate quickly multiple game mechanics. I usually keep everything in Blueprints during early testing phases.

Beyond core gameplay, I also use Blueprints extensively for multiple systems, things like randomized animations, ambient interactions, and lightweight logic that brings environments to life 😁.

The only thing I’ve always wished Unreal had was a true middle ground between Blueprints (high-level and visual) and C++ (low-level and powerful). That’s why I’m genuinely excited about the upcoming scripting language for Unreal Engine 6, Verse 👀.

Blueprint tramway Wanderer Unreal Engine

Goldanniyatech Updates & Releases

Release 0: Benchmark Demo

Update 1: Entering Production

Update 0: Prototypes

Asset Breakdown

Asset Breakdown: Props

Asset Breakdown: Creatures

Asset Breakdown: Lights

The Making of My Game
Goldanniyatech

Introduction

Other Activities

Terminology

Pipeline Overview

Game Engine: Unreal Engine 5

3D Graphics: Blender & Substance Painter

Modeling

Modeling & Sculpting

Modeling Technical Deep Dive

UV Unwrapping

Animation

Bone-based Animation

Texturing

PBR Texturing

Building the World

FilmBoX Exporting & Importing

World Partition Map

Gameplay Programming

Unreal C++ Programming

Blueprint Scripting

Timelapses

Videos

Shorts

Goldanniyatech Updates & Releases

Asset Breakdown

Stay Connected

The Making of My Game Goldanniyatech

Introduction

Other Activities

Terminology

Pipeline Overview

Game Engine: Unreal Engine 5

3D Graphics: Blender & Substance Painter

Modeling

Modeling & Sculpting

Modeling Technical Deep Dive

UV Unwrapping

Animation

Bone-based Animation

Texturing

PBR Texturing

Building the World

FilmBoX Exporting & Importing

World Partition Map

Gameplay Programming

Unreal C++ Programming

Blueprint Scripting

Timelapses

Videos

Shorts

Related Articles

Goldanniyatech Updates & Releases

Asset Breakdown

Stay Connected

The Making of My Game
Goldanniyatech