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Major Study Pitch Proposal Research #5: A look into game mechanics.

The one gaming franchise that had always interested me was The Legend of Zelda. Puzzles, dungeons, bosses, and even side quests had always made me feel enamoured with its gameplays.

With this appreciation, I would like to implement a similar set of game mechanics for my game idea as well.

Most recently, I had taken a liking to one of its latest titles, Breath of the Wild (2017). There are many ways you can play this game; you can walk around Hyrule, search for shrines all around the map, piece together puzzles to help revive memories in relation to the storyline, or build support for the main character in searching for the lost deuteragonists to avenge them. All that, or you could just go straight to the main goal of the game and speed run kill the final boss of the game.

That said, one set of game mechanics involved with Breath of the Wild is the idea of 'power-ups', where the main character Link obtains as rewards in saving villages all around Hyrule; Champions from the past inherited their respective powers and, do to their demises, can not utilise their powers. However, the game allows an interesting idea for Link to be bestowed their powers in defeating Calamity Ganon for them. Much like the unique Weapons Link obtains through each different dungeon, it is now instead actual powers that can be used to aid Link in battle. Thus, this new take creates a refreshing experience to Link's journey, which is good for a game long running like the Zelda franchise.

Fig 1.: The Legend of Zelda: Breath of the Wild (2017)

While this is an idea I'm willing to try testing out with my pitch game idea, I do want to be at least original with what power-ups I come up with. So, I want to make my power-ups in relation to the species of my deuteragonists.

To clarify, the supporting characters within my game idea are Ancient Guardians who have passed from various incidents surrounding a disaster that has plummeted the world in-game. However, the time that spans within each of their lifetimes are as of yet to be defined - this idea will likely be fleshed within Semester C, though I do still wish to enable the concept of power-ups within my gameplay plan.

I had already created a design for one of these supporting characters prior to this post, but with the temptation of Breath of the Wild, it has now spurred me on in drawing out a concept for this guy's powerup alongside my main character's.

Once I get more settled into my scheduled planning of tasks later in the last semester, I will draw out the rest of what the Ancient Guardians will look like, as well as what their origins and purpose could entail. For now, this is more of an experiment of the functions I could add to my game idea.

Source:

Nintendo (2017) The Legend of Zelda: Breath of the Wild [Video game]. Available at: https://www.nintendo.com/en-gb/Games/Nintendo-Switch-games/The-Legend-of-Zelda-Breath-of-the-Wild-1173609.html (Accessed: 20 April 2024).

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Major Study Proposal Research #4: The Complexity of keeping things 'Simple'

One of the obstacles I came across regarding my planning for the Major Study pitch was the concern for time management; as students have roughly 3 months to produce the work set out to do, the idea of producing an entire video game, or even a mere demo of such, would likely prove to be overly-ambitious of a task. Whether produced by either individually or in a group, the demand for programming, animating, and possibly composing music and sounds for a platform game (on top of that, learning an entirely new software to create said game) would be a risk to perform in such a short period of time.

With this, I have decided to bring the pitch idea back to a field that would instead further enhance my art skills and provide more relevancy to my goal of aspiration; I want to bring my proposal back to the focus of visual development, which has been the drive behind all my concept pieces.

So, rather than a 'demo' of a video game as my pitch idea, I want to propose an art book of relation to a potential video game. The idea of communicating a platform game has not been changed, but rather the 'output' of this pitch idea will take on a more pre-production approach. This will be more efficient to execute within the 3 months provided in our next assignment.

Regarding the set back of this idea, in what ways can I make this just as exciting as experiencing a full-fledged video game? In an age of hyperreality, we take for granted the technology and graphics now provided to us through entertainment products - games especially. As a 2D specialist, this is a blind spot of which I will have to work with.

Within the previous blogpost, I discussed how a 'genre' of platform games managed to be engaging of an experience, despite the supposed 'setback' of its 2D elements in posing a risk of flatness and its boring fixed camera-views. However, I have noticed that the pleasure of experiencing said games does not stem from the technical nature of gameplay, but actually the appeal it offers to its audience. It can be argued that the unique outputs of games such as Limbo or Cuphead were ahead of its time, in thinking outside of the box in producing an 'artwork' that offers a new twist of 2D products.

Fig 1.: Limbo (2010)

Fig 2.: Cuphead (2017)

However, that may be just because of the high-skills in drawing the art within them is what makes them stand out, and in a 3D-obsessed time of age that we are in, its makes those games opportunities in allowing us to appreciate gameplay in a different way.

Anastasiia P. (sher.stasya) is a visual development artist from the industry who I have followed for many years. Her content online involves many works featuring dynamic poses and character appeal; each stroke and colour choice invoke a sense of movement to her character, thus making it appear as if they were animated.

Fig 3.: sher.stasya on Instagram

These brush strokes of hers appear chalky and traditional - akin to the feeling of children's drawings. This nostalgic sense could bring out an intense feeling from viewers, despite the fact that its source is purposefully basic and simplified. This is how I feel that 2D can really bring the best out of gameplays.

Fig 4.: Night in the Woods (2017)

One existing game I see adopted this 'chalky' trait is a wholesome game titled Night in the Woods (2017), which revolves around a sorts of 'coming of age' and many in-depth character interactions. The fictional, cut-out like style boosts the charming aspects of this product further, making it appear innocent and unsuspecting towards its players from any ironic and satirical jokes that the game likes throwing onto them. Thus, this unexpected side of 2D can be fuelled to a game's advantage.

Fig 5.: Night in the Woods (2017)

From there, I wanted to try this out and ended up creating a main character for my pitch idea, whom I named Avia. I feel like this 'stroke' style does bring out a certain appeal, in a sense where a character can appear more dynamic. This, in conjunction with a messy, vivid setting of environment, could really sell an experience that would be pleasant to play through.

Sources:

Infinite Fall, Secret Lab (2017) Night in the Woods [Video game]. Available at: https://steamcommunity.com/app/481510 (Accessed: 20 April 2024).

Playdead, Double Eleven (2010) Limbo [Video game]. Available at: https://store.steampowered.com/app/48000/LIMBO/ (Accessed: 20 April 2024).

sher.stasya (2023) Instagram. Available at: https://www.instagram.com/sher.stasya/p/Co7ph1IJzR0/ (Accessed: 26 April 2024).

Studio MDHR (2017) Cuphead [Video game]. Available at: https://store.steampowered.com/app/268910/Cuphead/ (Accessed: 20 April 2024).

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Major Study Proposal Research #3: The wonders of Platform Games

As I move closer in figuring out what my pitch proposal could be, the more I thought about weighing the pros and risk in producing anything ambitious of the sorts.

The vision of my game idea was originally going to be similar to the gameplay of The Last of Us; an 'over the shoulder' camera-work that follows the main character throughout the experience. While appealing this idea would be, I had no idea about where to start and how I could produce this.

During my search of video games, I came across some nostalgic forms of games; Addicting Games is an older website where anyone can play flash-produced games for free. I recall playing the Fancy Pants Adventure series when I was a kid, as well as Fireboy and Watergirl. The trait that both of these game franchise have in common is allowing its players the ability to move, jump and travel across the map in a fixed, side camera view of each level. Fancypants had bigger maps out of the two, so its 'camera' view had to adapt by moving to wherever the player wished to go.

Fig 1.: Fancypants Adventures

Fig 2.: Fireboy and Watergirl

This idea of fixed camera view is not far from the trait that more popular platform games hold. Game company Ubisoft's Rayman franchise, specifically Rayman Legends (2013), possesses the trait of a hovering camera that pans alongside their characters as they traverse across different levels. They had a certain software that their team used to create their platform products, though it never seemed to have released public licensing for their audience to try - this software was named UbiArt.

While it was interesting to view this video in how Ubisoft's team could alter the effects of certain animations and sprites in real time, this software and the game produced from it may be considered outdated - especially with more recent platform games that now depend on more relevant tools used by today's game industry. For examples: Unity and Unreal Engine.

Unreal is a versatile programming app that enables users to import 3D models, animations, props and environments in order to script and develop games from them. The tool has been successful in producing a variety of game styles, platform games included. A popular gaming franchise, Little Nightmares, was made using Unreal Engine 4.13. Unity, an alternative game development program, allowed Studio MDHR to create Cuphead (2017) through it.

Fig 3.: Little Nightmares II (2021)

The vast end-products one could achieve provided by the tools today makes for exciting ideas in the future - imagining something as far-fetched as a rubber-hose animated game existing would have not been possible without the game software or examples that came before it. Free games made in Adobe Flash alone makes a game so appealing, because it seems so doable and efficient to try out.

While I'm still on the fence of planning to develop an actual game, the more-often-than-not appearance of 2D or 'stylised' games has broaden my perspective in what angles I could take my pitch idea in.

Source:

GDC (2018) Rayman Legends: The Design Process Within the UbiArt Framework. 31 Jan. Available at: https://www.youtube.com/watch?v=WFu1utKAZ18 (Accessed: 20 April 2024).

Tarsier Studios (2021) Little Nightmares II [Video game]. Available at: https://store.steampowered.com/app/860510/Little_Nightmares_II/ (Accessed: 20 April 2024).

Ubisoft (2013) Rayman Legends [Video game]. Available at: https://www.ubisoft.com/en-gb/game/rayman/legends (Accessed: 20 April 2024).

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Major Study Proposal Research #2: A dive into games.

For my pitch idea in relation to the upcoming Major Studies assignment, I had been wanting to create a concept of an upcoming game. I have taken a look at a plethora of video game catalogues, which involve a variety of potential styles to take forward with. While studying certain products, I had envision a style of narrative that I wanted to take forward with into my production: The 'first person' storyline perspective was something of interest to me.

The Last of Us (2013) was a game product that focused the perspective of its main characters as the 'pinnacle' of gameplay; the story fixates on the lives of Joel and Ellie, and how their relationship bloomed as many values are explored throughout both their character arcs.

This kind of gameplay allows its players a chance to connect to the characters in a more meaningful way - a way which ensures that they are even more immersed in the environment of which revolves around said characters, thus giving a more insightful approach to the aspects of 'world-building' that the game establishes within itself.

In relation to realistic gaming graphics, this also brings out the best of its high resolution elements; the often over-the-shoulder gameplay involved throughout not only brings focus on seeing through the lens of its characters, but also makes it easier for the game's audience to engage with the environment which surrounds said characters. Nashville Film Institute (NFI) states that the purpose of using over-the-shoulder shots is to "scene more dynamic", as well as offer a "connection or a level of intimacy to the viewer, specifically when two or more characters are having a conversation" (NFI, 2024). With the game revolving around its two main characters, this use of shot works best.

Fig 1.: The Last of Us (2013)

From this refreshing viewpoint, The Last of Us left me mesmerised with its overgrown environments and spurts of nature. While I ran through the potential ideas of what my pitch product would be, I wanted to get started on establishing possible environment settings.

To hone my artistic skills, I want ahead to start a new canvas and painted a forest environment. One tip I took while on this course was from freelance background painter Milica Mastelica, who heeds beginners on the risk of over-detailing; "achieve the most with the least amount of brushstrokes" (2023). She also points out to prioritise the biggest shapes first before branching out any relevant details.

I followed Mastelica's advice and stuck to adding a bit of detail to the objects in the front, as opposed to the solid shapes kept simple at the back.

This is mainly just to help me settle with my new brush pack, provided by my tutor. The specific plant brushes allow me to shortcut certain fauna and so enables me to have more time to focus on shaping up the trees all around.

Additionally, I wanted to try some colouring in Photoshop. Since my first assignment, I have stuck to colouring advice from BAM animation’s environment artist Brent Noll in discussing the theories behind colour combinations and tones; colours within art featuring 'cool' tones and 'warm' undertones can tell a viewer of how an area is "safe, healthy and living" (Noll, 2023).

That said, I also wanted to play around with painting a scenery with bright daylight. Regarding the advice provided to me, I experimented with both cool and warm tones in my piece to see what colours would work well together.

Granted, this could still use some improvement and perhaps more testing of perspectives, though this piece helped me consider if I would like to take the 3D route of a game idea at all - the fictional style within this work appears nice, as well as the simplified forms behind the foreground. This will be something I would need to apply more research in.

Sources:

BaM Animation (2023) Painting Backgrounds for TV Animation! Photoshop. 14 Jun 2023. Available at: https://www.youtube.com/watch?v=MKtcsF5IUF0 (Accessed: 26 April 2024).

Mastelica, M. (2024) Instagram. Available at: https://www.instagram.com/milicamastelica/ (Accessed: 26 April 2024).

Nashville Film Institute (2024) Over The Shoulder Shot. Available at: https://www.nfi.edu/over-the-shoulder-shot/ (Accessed: 20 April 2024).

Naughty Dog, Iron Galaxy (2013) The Last of Us [Video game]. Available at: https://www.playstation.com/en-gb/games/the-last-of-us-part-i/ (Accessed: 16 April 2024).

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Major Study Proposal Research #1: Trial and Error

With the Live Brief completed, I had begun to think about my own independent project and started to test out some ideas.

One visual element I have been keen on honing my artistic skills through is painting greenery; I have had photos throughout the years of local woods in my town, of which I used as reference for what colours would look well in a nature setting.

Last summer, I had even studied a variety of plants in my back garden, attempting to condense the complex functions of plants to its simple visual appearances, such as leaves and stems. Key artists that had encouraged me to experiment with these elements have had processes of where they took (more often than not) detailed specimens of greenery and only painted the basic elements that stick out of their appearances. One of these artists was Amy Lewis, a background artist who currently works for Nickelodeon's show, Spongebob Squarepants (1998). On her social handles, she posts personal plein air studies - some of which are quick and efficient. One example is her simplified method of quick paintings involving trees in the UK.

Fig 1.: Amy Lewis on Linkedin

Fig 2.: Amy Lewis on Twitter (X)

This opens up a lot of room for inner elements of nature to be explored alongside just flora; I could look into other biota elements present within a wood's ecosystem, such as fungi and animals.

With this, I wish to incorporate settings of flora wildlife as my Major Study proposal; it may involve various habitats, such as woodlands and rainforests. As an aspiring visual development artist, I feel like this practice can help hone my skills in being able to 'world-build' a believable environment setting, with the right level of knowledge and practice. Additionally, with the ongoing issues surrounding wildlife endangerment and deforestation, I feel like more light could be shed on those circumstances by creating works that can allow others to appreciate the habitats we take for granted.

As well as world-building, the idea of drawing flora will enable me a chance to practise condensing complicated biota to more simpler forms: focusing on its associated colours and silhouette shapes. Looking at artists like Amy Lewis help remind me to be more 'forgiving' to myself in doubling down from overly-detailing processes, something that I have a bad habit of.

Sources:

Lewis, A. (2023) Twitter. Available at: https://twitter.com/AmyLewis_Art/status/1667977327379193857 (Accessed: 16 April 2024).

Lewis, A. (2023) LinkedIn. Available at: https://www.linkedin.com/posts/amy-lewis-2620b649_pleinair-painting-activity-7055580437598851073-Dvzf/ (Accessed: 16 April 2024).

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Concept Development Recap: Live Brief

Extra:

For ways on how to establish our little group brand, I came up with a visual design that could appeal to a large demographic. I was inspired by Pokémon (1997 - present) - pokemon character Charmander in particular.

(Nintendo, 1986)

With this, I wanted to create a product with two ideas in mind; one for our title, and another for our potential mascot.  As well as Pokémon, I also looked into the simple design of Sleepy from Snow White and the Seven Dwarfs (1937), who is known as the least active, and most tame dwarf in the film.

Basing my design off these characters, I produced two different coloured versions of a logo design and mascot of ours, thus fully attempting to represent our ‘lazy dragon’ subject.

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Concept Development Recap: Live Brief

Week 4:

With the production coming to a close, I helped out with the editing field of the project; specifically sound design. I was tasked to implement sound effects to help bring the previz to life. I reviewed the storyboard direction from Kal’s aforementioned ‘visdev’ google document, and edited in free copyright sounds accordingly.

Below are exported MP4 files, containing sound designs for two versions of previz:

Sources:

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Concept Development Recap: Live Brief

Week 3:

With the pre-production now delivered, our team went ahead into the production period; concepts like the new storyboard had to be further refined. While a few of my teammates worked on our first previz shots, a few of us also worked on the final animatic. Kal had created new storyboards to better fit our improved project narrative. He had also instructed us on how to present these new shots, such as what colour palettes we should follow; greens and reds were the colours he recommended, since they evoked a complementary combination of danger and fear to the scene. One source he recommended us to study was the hotel lockdown scene in Cyberpunk 2077 (2020), which featured a nice blend of traditional and neo-Japanese style interior environments.

(Timur Ozdoev, 2020)

For this task, I managed to produce four shots for the new animatic - with the help of Angelique’s 3D interior model and created cameras. I had also required Theodor’s character model of the ‘assassin spiders’ for one of these shots, which I went ahead to alter the scene on Maya for myself. Thus, all of these shots involved 3D blocking, which was time efficient!

(Angelique Shelley, 2024)

(Angelique Shelley, and Theodor Obreja, 2024)

While there were a variety of aspects that could have been improved on within these shots, our team had initiated ‘sprints’ that had to be performed accordingly.

Another task I was assigned to handle features a more in-depth visualisation of the mural painting featured in the long shot from above (shot L1) - I was explained how the mural should be presented, offering a visual implication of dread awaiting for the main characters as they are caught in a threatening situation.

Kal had made a separate google document for concept artists to follow for our animatic shots, where he provided real-life sources and AI generated concepts for how the mural could look like. I gathered all of these images and collaged them into a flat moodboard to help me follow through on a desired design.

This batch of panels consisted of the upper two pieces being the initial potential compositions, with the lower pair as versions based on the feedback I had received from my teammates. We went for the lower right panel, as it held the strongest composition.

For my mural painting to appear clear in Unreal for my game art teammates, I had to scale and repaint the design in a 4k resolution (3840 x 2160 pixels).

In the final version of the mural, some colours had been adjusted, as well as a few elements manipulated and further added in. I also implemented more variety of the faces for the onis.

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Concept Development Recap: Live Brief

Week 2:

Before our first meeting for critique, we had presume with our initial script for the story and proceeded to develop the concept.

I was assigned to help the environment artists of my team, by laying out how the interior could look like. This was due to the ambiguity of scaling within my second thumbnail work above featuring the inside of the traditional ‘house’. Thus, I was asked to build on top of this idea to help my teammates envision the 3D model of the interior better.

I branched off ideas of the interior from my teammate, Angeligue, who had put together a mood board prior consisting of different ideas for the boss battle setting; the interior would include a clear blue of calm pools or pond in the middle, only to be revealed as a holographic trap into a terrifying boiler from below, thus mimicking the ‘oven��� aspect of the original Hansel and Gretel folklore.

(Angelique Shelley, 2024)

Mert had also provided moodboards of generated AI photography, consisting of an interior environment of both cyber and traditional elements. This was helpful in delving into potential props that could be added to the game scene, such as the idea of cherry blossoms growing out from the inside pool.

With both ideas and advice from my teammates, I went ahead in producing a 2D perspective layout design of the interior. Below are progress images containing my work:

However, since our first pitch and feedback, the idea of the pool was eventually scrapped. Nonetheless, the concept piece was recycled and used in some other forms of production.

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Concept Development Recap: Live Brief

Week 1:

Within our first week as a team, I was tasked to create some visual development work involving ideas of how the interior and exterior of our scene would look like. We wanted to communicate a combined theme of traditional and neo / cyberpunk Japan. For my first work of the project, I followed Kal’s initial storyboarding and used the top left and bottom right panel shots of his first sketched page.

(Kalyan Thupili, 2024)

With his two shots in mind, I created two thumbnail arts to help flesh out the values and composition of the ‘cinematic’ feel for the cutscene. This was where I wanted to focus more on capturing the traditional elements of Japanese themes rather than the cyber aspects of the story.

I had to adjust the brightness of the thumbnail works to help them be seen better.