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JorisCeoen - Finished maps (8 in total)

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Joris Ceoen:
Hello everyone. As WWMT helped me across all of my level designing blocks and allowed me to realize numerous projects, I decided to post them here for everyone to understand the power and utility behind the tools Shawn provides us. I realised during my developments that Wall Worm acted as a decisive bridge between 3DS Max and Source and without it, nothing here below would have existed, or barely coming to the results I could achieve so far.


Made on request, it's my very first project to have ever been finished and released. It's in critical condition, deserted and the performance is below average, but the entirity of the cathedral you see is modeled inside of Google Sketchup, imported into 3DS Max for texturing and then exported with the Wall Worm Model Tools (WWMT from now on). Without WWMT I would probably never finished this project, and maybe I would never have continued level design. Cathedral was my first step into the Level Designing world and still remains (for me) one of the most iconic maps.


A smaller project finished in 5 days, featuring a large-scaled outdoor, winter-like environment. It was the first map to use custom trees that used the Sway shader (By copying the Urban Tree MVT values at the time) and all of the models where used in conjunction with WWMT. Again, I have to mention that I would not be able to make these without the WWMT. Yes, I could have used custom models that were already compiled and exported for the Source Engine. Then again, CS:GO was just released at the time so there was no way people released foliage models that were compiled for the CS:GO version of the Source Engine (as you have to recompile models with the studiomdl.exe from CS:GO). I still had to learn about the VTF settings and alpha maps and pixel art in general, so the map received a huge update after release, fixing all of those old issues.


Ardennes was my first ambitious project where I wanted to take my artistic endeavours to the next level. The map is an attempt to prove that the Source engine does handle large environments, with lots of foliage. It is not the best optimised map however, and still has many issues gameplay-wise. I learned some new techniques with this project which allowed me to delve deeper into the 3DS Max tools. It took me 3 complete months to finish the project. All of the texturing and modeling was done in 3DS Max, Sketchup and exporting with WWMT.

This time I also wanted WWMT to take a very important role in exporting such as using the illumination origin option, using the origins of models to perfectly align across brushes (I calculated all the brushes their dimensions and then I made models onto those in the 3D modeling program Sketchup to have them perfectly align, then export to Source and the results are outstanding). I created and used fully working custom breakable props, which I found otherwise unable to create, all thanks to WWMT!

Ardennes is also the first map where nearly every single model is made with the WWMT, without Wall Worm there was absolutely no way I could even start this project. It was, however, designed in Hammer and Sketchup, something which would fade away after in future projects.


A special project where I recreated my electric organ at home. It was released for a contest, and although it never won any spot, I remain confident it was one of the most original of all entries. The stops, keyboard and pedals were all photographed, modeled, textured and finally exported with the WWMT. It was a lovely project to work onto, unfortunatly it's clear that it never saw the light of day at any point in time during and after release, and is now entirely abandoned.

It was my only work on Source (as opposed to CS:GO).


At the time, Himeji was a huge leap forward compared to all my previous works in nearly every aspect. It was extremely ambitious and required me to learn many new tricks on a timespan of 35 days for yet another contest (Famous Landmarks). Originally I wanted to create the Atomium from Brussels... but after 5 days of trying and getting frustrated it just didn't work. It was then that I saw an image of the Himeji Castle on Google and I was instantly grasped by its beauty and detail.

I brushed out my knowledge of modeling and texturing, using Sketchup to model and 3DS Max to texture. This was the last project to ever use Google Sketchup and Hammer to solve independent tasks of my projects. Himeji took exactly 35 days to complete with considerable time spent on the map, each and every day. Having time over at the last 3 days I added more detail and gameplay elements. Later after release it received a huge update and a better attempt towards competitive play. The map is still unfinished and is one of the few projects that I want to finish later down the road.

Himeji took first place, as can be seen here: Having been the first map to ever win a place it boosted my spirits to continue.


Despite its barren gameplay and experimental graphics, Cathedral holds a special place in my heart because it is the first map I have ever attempted to finish and release publicly while being made entirely inside 3DS Max with the aid of the Wall Worm Level Designing tools (Wall Worm Anvil, WWA from now on). WWA and WWMT allow you to essentially make a fully fleshed out map in 3DS Max without ever leaving the program or environment, or even entering Hammer for that matter. You can design brushes, models and textures all in 3DS Max, so why would you even want to switch between all these programs to essentialy waste a lot of time for the same results.

Such filosofy allowed me to change my workflow and transfer towards Wall Worm for creating all my levels. There are so many essential tools in 3DS Max which simply aren't present in Hammer. If you count that on top of all the tools designed by Shawn Olson such as the 3D Skybox converter, Sky Writer, Corvex, Carver, ShellVex, Detailer, PropLine and finally Wall Worm Pro, you're saving houres and houres of work.

Admittedly, while it holds a special place, it is nearly impossible to properly play on because of scaling issues and shading problems. I was faced with the hard reality that gameplay is, and remains the key element of a map.


Pontifici was the first attempt to improve the gameplay element of a map, taking the basics of the competitive spirit to play by balancing timings for bombsite and cover, while still trying to go for a relatively open map. It should give you the feeling of being in a medieval town that uses a canal for transport, connecting both sides with a bridge.

While it succeeded in gameplay partially, it can be improved, and already underwent considerable art-transformations that are unreleased as we speak.


Space Marble is the direct result of my temporary retreat of the classical gamemodes such as Bomb Defusal and Hostage Rescue. It is a prime example of a map that hugely benefitted from Wall Worm as a whole. The map simulates a Marble Track by letting spheres roll around with purely physical interaction. A very tough task to ask for the Source Engine if you consider that physics are very dependent on material type and object weights.

In order to create the tracks, I used splines for crazy turns and creative routes that at times also diverge into branching paths. In Hammer this would have been a hell of a nightmare to design considering that you'd have to create the tracks and then export them, and then reposition the new track everytime, hoping that it is attached seamlessly to the previous one etc etc...

Space Marble took first place, as can be seen here:


Greatriver is probably one of the most popular surf maps of all time. CS:GO currently has a hard time to really grasp CS:S players to over to the new game, so I decided to support the Surf Community by remaking this iconic masterpiece. Black is the original designer of the concept and first version, and Xdream (clan) has made considerable improvements over the map.

I co-operated with a professional surfer who has a lot of knowledge about surf that I simply didn't know. He adviced me to keep the map as close as possible to the original, as well as removing some elements which simply had nothing to do with the gameplay. I intend to bring the ultimate greatriver edition by focussing on Surfing as much as possible, rewarding those with great skill, as well as making the map just a little bit noob-friendly. The most controversial change is undershotty being removed (a connection on a sloped surface on the back of the ramp that starts from the 3 little platforms with the shotgun, hence 'undershotty').

Greatriver 2015 boasts a ion-like design and tried to guide the player on the ramps by using linear textures. Reflection and river-like elements are important, so the map is mainly tainted in blue.

Thank you for this great write-up! I will watch your progress with great interest.

I am glad you shared all of this!

PS. At the moment, the images are broken.

Joris Ceoen:

--- Quote from: wallworm on August 01, 2013, 01:56:48 pm ---PS. At the moment, the images are broken.

--- End quote ---

Ugh, I know why, my bad. Gonna fix that in a minute!

EDIT: Fixed!

Really cool :D

WOW, great work. I am impressed with the overall quality of the images shown. These maps look fantastic. Thanks for sharing them with us and I look forward to further updates.



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