Yeah, I’ve played that trick before. Take the real scan, carve out the big shapes, throw out the tiny details, then hand‑paint the textures in a low‑res style so they still feel like the same creature. It keeps the heart of the sculpture in the game world while letting the art team keep the file sizes reasonable. If you keep a few reference shots of the original model, the whole team can stay anchored to that real feel without getting lost in pixels.

Got it, I’ll set up an “original‑captures” folder and log every detail we prune, with the UV map name stamped on each texture. That way we won’t have a mystery bump map sitting in the asset store. Plus it keeps me honest, so I can revisit the decision if the team needs a second opinion.

Thanks, I’ll jot down the vertex counts and keep everything in the log. That should make it easier for everyone to track changes.

Got it, I’ll keep the original mesh in its own “orig‑” folder so we can always check back if the vertex count seems off.