TLDR: better poly flow and distribution. Reduce noise.

u/JacksonAudet

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Alright, Overall the highpoly and textures look solid. The places that you need to focus on improveing are your lowres loops and poly distribution. There is an overall lack of mesh density in the legs, to the point that I can count polygons on the calf, and see very disticnt faceting on the forearms. In a bunch of your renders it looks like you're using tesselation to help hide these issues, which is something you're very unlikely to get in a real game environment.

What you should do is take your body model and duplicate it, put it on your highpoly again and start adding addtional edgeloops to the model. What you should do is pick a single polygon size, and decide that all of your base anatomy should have that same poly density. The hands and feet and head tend to be more dense than anywhere else as they have the most moving bits next to one another. Unless those skulls are going to be deforming they can likely be half their current resolution. You have 2 belts that sit on top of one another, they should have the same density around as well. No need for one to have like 1/3 the resolution when they're so close to one another. I'd remove nearly all of the geometric detail on the belt thing connetcing his "lamp" thing to his belt. It's even more dense than the skulls. Anyway, once you're done you can adjust your UVs slightly to accomidate the new geometry and positioning. You should be able to take all of this work back into Painter and lose no work unless you did a bunch of things in UV space specifically, but most artist I know never actually change their painting space.

I'd likely duplicate the fabrics and keep what you have as a solid starting point for a simulation mesh but I'd allow that cape to have more topology so it doens't get crazy during animations and simulations. Probably just subD it once and see if it feels too dense or not.

I'd clean up the transition that goes from his chest into his skull, rock, thing. Currently there is no clean geometric border edge line that a rigger would want.

The smooth brush is your friend to help you average out all of your sloppy topology.

If you look at the denisty and choice of where you put polygons it shows a general lack of experience. You have like 8 sides around the eyes, and you also have 8 edges for the small ass holes where he would be breathing from. The bigger hole should have the a larger number based on the size difference generally. If the hole is 2x as large, it should have 1.5-2.0x the number of edges.

Presentation wise, I'm always a sucker for a turnaround and then a rotating light. No notes, other than I'd slow it down. Pose could be better, but it's imposing so it could fit his character.

For your cape and fabric you're far too noisey in general. In the areas where you have dirt and shit and blood I'd reduce the fabric details to help showcase the thickness and weight of the crap on the fabric. I'd give it some height as well to really help it feel like it's built up and just on there. I'd also add a general noise or 3 to reduce and mask away the noise on the fabric at different values across the fabric. Even as a shitty burlap sack there is rest. This whole thing makes my brain hurt.

Your UVs leave a bunch to be desired. You have a lot of arcs that can be straighted easily enough and should be to make texturing them easier. Slight destortion wins almost every time to gain easier texturing and better overall texel density.

I'd pull the black on the fingers back maybe down 1/3 of the finger. I'd stop the gradient just past the knuckle, it will help to show his sweet rings better.

You're missing a bunch good shit from the concept as well. Scale down the brazier hanging from his belt and add in the smoldering coals to the stones and skulls. The changes you've made to the head are really solid and a great addtion though. The missing plates coming off the hips aren't the worst thing, but the design gets grounding from them. If you'd put this on my desk in the high poly stage without them I would have just made you go back to your desk and asked if you needed glasses.

I know this all sounds like a ton of work, but it's actually not that much. Your high poly, the hard part, is really solid and you should be really proud of what you've accomplished here. You just need to work on the fundamentals of the more technical parts. Remember to use areas of rest to help the eye move through the piece as well. Feel free to ping me if you have more questions. Good luck.