
RUINED KING
/ Turn-Based RPG
VSQUAD supported Ruined King with large-scale stylized 3D asset production, including characters, creatures, weapons, props, texture work, color variations, and environment support. The team also helped with texture adaptation, concept color exploration, and production workflows built around a PBR-assisted approach for faster hand-painted-style results.

Feedback from our clients
3D CHARACTER ART FOR RUINED KING
Stylized character production built with clean low-poly forms and strong readability.
PBR workflow used to speed up stylized texture production with a hand-painted look.
Character assets prepared for real-time use, clean presentation, and production delivery.
Who this work fits



Reliable art support for indie teams that need quality, budget awareness, and a team that stays involved.



External production support for larger teams with established quality bars, reviews, and pipelines.

3D production support for brands, agencies, products, and companies outside gaming.
Ruined King: A League of Legends Story • Turn-based RPG • Airship Syndicate

Razorfin and Seabat
Designing the Razorfin and Seabat required a balance between aggressive silhouettes and the hand-painted texture style iconic to Bilgewater’s fauna. We focused on maintaining high-readability during gameplay while pushing the dark fantasy details in the 3D sculpts.







Handguns and Shields
For these assets, our team prioritized chunky, functional silhouettes that feel grounded in the gritty atmosphere of the Ruined King universe. The hand-painted textures emphasize wear and tear, ensuring these tools look like battle-hardened gear rather than clean props.






OUR OPERATION MODELS

- Individual artists or small production units can join your existing pipeline and work under your team’s direction.

- VSQUAD handles a defined production scope with senior review, internal coordination, and delivery control on our side.

Commander Leadros
Bringing Commander Ledros into 3D meant translating his spectral presence into a solid, stylized model without losing the ethereal glow of the Shadow Isles. We emphasized the weight of his battle-worn armor in the sculpt to contrast with the ghostly green energy of his core.






Game engines we work with

Game-ready assets for Unity projects, mobile games, indie titles, and cross-platform production.

Production-ready assets for Unreal projects that need strong visuals and clean technical setup.

Flexible asset production for Godot projects, indie teams, prototypes, and lightweight games.

ShadowYone
ShadowYone’s transition into 3D focused on maintaining his signature dual-blade silhouette while incorporating the spectral purple tones of the Shadow Isles. We utilized high-contrast hand-painted textures and targeted emissive maps to preserve visual readability in the game’s isometric environments.







Daggers
These daggers were sculpted with heavy, jagged edges to reflect the lethal nature of the Bilgewater underworld. The hand-painted texturing process adds layers of grime and oxidation, making the stylized blades feel dangerous and used.







Mistwalker Librarian
The Mistwalker Librarian’s design emphasizes the floating scroll-headpiece and tattered red cloak to create a distinct spectral silhouette. We used high-contrast hand-painted textures and a toxic green emissive to highlight its supernatural origins while maintaining technical optimization for top-down gameplay.







Sea Monster
The Sea Monster was sculpted with a streamlined, predatory silhouette to emphasize its agility in the game’s aquatic environments. We utilized high-contrast hand-painted textures and bioluminescent accents to maintain visual interest while ensuring the creature remains readable against darker, murky backgrounds.







Cannon Crab
Integrating heavy artillery into the Cannon Crab’s rocky anatomy required a focus on physical weight and material contrast. We used aggressive, blocky shapes for the shell to support the mounted cannons, while the hand-painted textures highlight the weathered grit typical of Bilgewater’s shoreline threats.






Our Clients
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FAQ
Key questions about our production work on Ruined King, including stylized 3D characters, creatures, weapons, props, direct low-poly production, PBR-assisted texturing, and full art or development support for similar games.
Our work included characters, creatures, weapons, props, texture work, color variations, concept color support, and some environment asset support. The project required assets that looked strong in presentation but also worked as part of a real game production pipeline.
The goal was not only to create good-looking models. The assets had to fit the project’s visual direction, production standards, technical needs, and established quality bar.
For this kind of RPG production, the team focuses on clear silhouettes, strong value separation, readable materials, simplified detail zones, and exaggerated shapes where needed. Details should support the design, not create visual noise.
This matters for characters, creatures, weapons, props, and environment assets. A model can look detailed in a render, but if the shape and contrast do not read in-game, it fails as a game asset.
Instead of starting with a high-poly sculpt and then doing retopology, the artist could model the asset directly in a 3D package with the final low-poly structure in mind. This is closer to an old-school game art pipeline, where silhouette, shape economy, UVs, and texture work carry most of the visual result.
This workflow can be faster and very effective for stylized games, but it requires strong artists. Without good shape language and texture control, low-poly assets can quickly look flat or unfinished.
This kind of hybrid process can help the team move faster with materials, masks, surface logic, and texture variation, while still keeping the final asset controlled by art direction.
For stylized games, the point is not to use PBR for realism. The point is to use the technology where it helps production, then adapt the final result to the game’s visual language.
For Ruined King, many assets followed a direct low-poly workflow: concept or reference review, low-poly modeling, UVs, stylized texture work, material setup, review, polish, and final delivery.
For other projects, a sculpt-based workflow can also be used: blockout, high-poly sculpt, retopology, UVs, baking, texturing, materials, and final delivery. Sculpting can even be easier for some characters or creatures when the forms are complex, but it is not always the fastest or best choice for every stylized production task.
The workflow could include modeling, UVs, texturing, material work, color adjustments, and presentation renders. Tools such as Maya, Blender, Substance 3D Painter, Photoshop, Marmoset Toolbag, and ZBrush can be part of this kind of pipeline depending on the asset.
The exact tool is less important than the production logic: clean forms, readable textures, controlled materials, and assets prepared for real game use.
This can include characters, creatures, weapons, props, environments, UI, animation-ready assets, VFX, texture work, color variations, and engine-ready delivery.
For larger scopes, the main requirement is structure: clear asset lists, visual references, quality bar, review logic, priorities, and a production plan that keeps the style consistent across the whole game.
For similar games, this can include Unity or Unreal tasks, technical art support, implementation help, optimization, UI integration, gameplay-related tasks, and preparing assets correctly for the engine.
This is useful when a team needs more than isolated art delivery and wants external support that understands how art, engine setup, production limits, and gameplay needs connect.
We can work from concepts, references, existing assets, style guides, gameplay screenshots, or early prototypes. Before production starts, we study the game’s proportions, shape language, colors, material treatment, camera, engine limits, and production setup.
The goal is not just to create attractive assets. The goal is to make characters, creatures, props, weapons, and environments feel like they belong inside the same game.
If the scope is not clear yet, we can help structure it before production starts. This can include separating must-have assets from optional assets, choosing the right production pipeline, planning the first batch, and identifying budget risks.
For indie or smaller teams, we can also suggest a practical starting scope instead of forcing a large production package from the beginning.
GET IN TOUCH
Got a project in mind? We usually reply within a day.

You can also reach us directly:
- Our email:
[email protected]
- Art Director:
Volodymyr Liubchuk
- Assistant Producer:
Violetta Popova
- Job opportunities:
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