Week 36+37 - Reflective Journal - GAM705

 We are now onto our major project, and final module. The year is coming to an end, and my aim is now to create work to add to my portfolio that I'm proud of.

Currently, I know my plan is to focus on character design, and potentially to back up my work with discussions on story-telling/narrative in character design, as well as bias in character design.

There are some basic elements in character design that are meant to tell an audience a lot about a character without saying it outright, a common one is "shape language":

Fig. 1: WaltDisney.Org, 2020. Shape Language

Shape language is often strongly utilised in animation, where shapes and character designs are exaggerated for readability. Combining these shapes can also create different ideas of  how a character is or behaves. A character like Mr. Incredible from The Incredibles (2004) is mostly square in shape, to show his strength, but also has rounded features to suggest friendliness. This post by Keenan Acebedo shows how a combination of shapes can be used to create a diverse line-up of characters.

In animations aimed at an older audience, shape language is often still used but in a subtler way. For example, Vi (fig. 2) in Arcane (2022) has squared shoulders and a rounded face, but also sharp shapes in her hair - her design suggests she is a protagonist, but not necessarily friendly. 

Fig. 2: Theuillon, 2022. ARCANE - Vi

At the same time, designs can be used to show aspects of a character that may change in the narrative of the media they're in. To use Arcane as an example again, the character Caitlyn (fig. 3) is training to become an enforcer; her uniform is clean, symmetrical, and orderly, suggesting she is someone who would want to maintain structure and law. In the show, Caitlyn becomes rebellious, as she's put in a position of choosing between her personal feelings of what's right, and what she's been raised to believe in and stand for. 

Fig. 3: Theuillon, 2022. ARCANE - Caitlyn

In designs for games with realistic art styles, or live-action films, much of the narrative in design is put into the clothing. Vi's outfit in fig. 2 is mostly asymmetrical, except for her shirt, which has the sleeves ripped off, suggesting it's secondhand or stolen. Vi's design against Caitlyn indicate differences in the characters' upbringings and social standing. 

Fig. 4: Reeves, 2016. Corvo Attano, Dishonored 2 (2016)

In Dishonored 2 (2016), the design for Corvo Attano features asymmetry, but also reflects rank and class. This is also reflected in the design for Emily Kaldwin (fig. 5), Corvo's daughter and Empress of the Isles. Their clothing is clearly tailored but built with purpose. Gold accents and use of deep blues and purple highlight their social ranking, but features like belts for carrying weapons show they're capable of fighting. 

Fig. 5: Bishop, 2016. Emily Kaldwin, Dishonored 2 (2016)

Asymmetry also draws focus and interest towards a character, as usually generic background characters and NPCs have plainer designs that can be repeated, and clearly indicate who the character is without distraction. This is often seen in guard and citizen NPCs whom the player doesn't need to interact with (fig. 6). A character who is part of the guard, but is also part of the story, may have changes to the standard uniform to make them stand out and show more importance, such as removal of a helmet or mask, or a change in uniform colour, e.g. High Overseer Campbell in Dishonored (2012) wears a red uniform to indicate his higher rank, and no helmet (fig. 7). 

Fig. 6: Buliarca, 2012. Overseer, Dishonored (2012)

Fig. 7: Dishonored Fandom Wiki. High Overseer Campbell

In this post by Magdalina Dianova on "How to design a compelling character that tells a story", she goes into how to show the kind of person a character is through their design:

"The very first step in my process is to come up with an idea about my character’s personality and think about who they are. All I need is a keyword - something to begin with. The first one that pops in my mind is ‘antisocial’. From there I start asking basic questions - Why is my character antisocial, how does that affect their life, how do they perceive the world?"

She then builds an inspiration moodboard, using images of real people and film characters that match the personality of the character she wants to create. This is followed by exploration sketches and a final rough drawing of the design. Using this method, as I have done, as well as some world building to compliment my work, I plan to begin designing a character next week.

I've been writing notes of ideas, and narrowing down what I'd like to work on. I'm looking at games I like, such as Dishonored (2012), BioShock (2007), and Bloodborne (2014), to draw inspiration and art style.

References:

DIANOVA, Magdalina. 2019. 'How to design a compelling character that tells a story' [online] 3DTotal. Available at: https://3dtotal.com/tutorials/t/how-to-design-a-compelling-character-that-tells-a-story#article-introduction [Accessed on: 06/06/2023]

Images: 

Figure 1. WaltDisney.org. 2020. Tips & Techniques: Shape Language. waltdisney.org/education-resources [online]. Available at: https://www.waltdisney.org/sites/default/files/2020-04/T%26T_ShapeLang_v9.pdf [Accessed on: 02/06/2023]

Figure 2. THEUILLON, Candice. 2022. ARCANE - Vi. ArtStation [online]. Available at: https://www.artstation.com/artwork/b505vm [Accessed on: 02/06/2023]

Figure 3. THEUILLON, Candice. 2022. ARCANE - Caitlyn. ArtStation [online]. Available at: https://candicetheuillon.artstation.com/projects/aGy4zz [Accessed on: 02/06/2023]

Figure 4. REEVES, Ben. 2016. Corvo Attano, Dishonored 2 (2016). Gameinformer [online]. Available at: https://www.gameinformer.com/b/features/archive/2016/05/11/get-reacquainted-with-corvo-attano-from-dishonored-2.aspx [Accessed on: 05/06/2023]

Figure 5. BISHOP, Sam. 2016. Emily Kaldwin, Dishonored 2 (2016). GameReactor [online]. Available at: https://www.gamereactor.eu/take-a-look-at-the-fashion-of-dishonored-2/ [Accessed on: 05/06/2023]

Figure 6. BULIARCA, Christian-Marius. 2012. Overseer, Dishonored (2012). ArtStation [online]. Available at: https://www.artstation.com/artwork/QVVll [Accessed on: 06/06/2023]

Figure 7. Dishonored Fandom Wiki. High Overseer Campbell. Dishonored Fandom Wiki [online]. Available at: https://dishonored.fandom.com/wiki/Campbell%27s_Lamentation [Accessed on: 06/06/2023]

GAM703 Submission

 

Game Trailer

Personal Vlog

GAM703 - Final Character Designs

Dominion of Warclaws

Tailpit Tribe

Razorboar Clan

Lynandria Cartel

Longhorn Pack

Ent-Wives

Weeks 31-34 - Reflective Journal

I first started working on the tree people, named the Ent-Wives - a female group seeking their lost male counterparts.

The feedback on my initial sketches (fig. 1) was that they didn't both read as "female", so I took a more stereotypically feminine approach to my design.

I wanted to experiment with the idea of the Ent-Wives bodies gradually being overtaken by plants, with parts of their human body being left before being entirely consumed.

Fig. 1: Spence, 2023. Initial Sketches.

Fig. 2: Spence, 2023. The Ent-Wives

Myself and my group all agreed that my third design was the strongest, and was the one that would be taken forward to be made into a final game piece.

Next, I worked on the fox people, the Lynandia Cartel - a desert dwelling group of vain, fox-like traders.

Fig. 3: Spence, 2023. The Lynandria Cartel

Fig. 4: Spence, 2023. Artifact Sketches

Various other pieces I worked on were the artifacts (fig. 4). The game was originally going to feature three types of artifact - blessed (fig. 5), cursed (fig. 6), and holy (fig. 7) - which each behaved differently in game. Unfortunately, due to time restraints with balancing, the designs for the cursed and holy artifact were put to one side, and the team focused on the blessed artifact.

Fig. 5: Spence, 2023. Blessed Artifact

Fig. 6: Spence, 2023. Cursed Artifact

Fig. 7: Spence, 2023. Holy Artifact

I also began some rough ideas for a background for the app, specifically art for when orcs obtained the artifact.

Fig. 8: Spence, 2023. Orc Background (1)

Fig. 9: Spence, 2023. Orc Background (2)

As it came into question whether or not we'd be using backgrounds at all, I began focusing on the Razorboar Clan - a group in a savanna type area, with a culture focused on farming and protecting their lands. I based their weapons on the ngulu from the Congo, as it reminded me of a scythe, making their weapons double as an agricultural tool.

Fig. 10: Spence, 2023. The Razorboar Clan

I also decided to try photobashing for the first time for this project. Photobashing is a technique that involves blending photographs and painting together to create a final piece. It's a good way to build noise and texture in an image, as well as make concepts quickly. As this had to be a more finalised piece, I spent about three days working on it to create the background for Artifacts of Linmarch. This image is present in the app, and would be present on a box the game would come in.

Fig. 11: Spence, 2023. Artifacts of Linmarch Photobash

Due to unforeseen circumstances arising with the other 2D artist in the group, I was tasked with completing the other faction designs - the fauns of the Longhorn Pack, the snake-folk of the Tailpit Tribe, and the bird people of the Dominion of Warclaws.

Fig. 12: Spence, 2023. Longhorn Face Sketches

Fig. 13: Spence, 2023. Longhorn Clothing Sketches

To help with the sudden increase in workload, a member of another team, James Thompson, created some concepts for the Warclaws and Tailpit Tribe (fig. 14 + 15). 

Fig. 14: Thompson, 2023. James' Warclaw Concepts

Fig. 15: Thompson, 2023. James' Tailpit Concepts

Fig. 16: Spence, 2023. Final Designs. 

References:

Images:

Figure 1. SPENCE, Nel. 2023. Initial Sketches. Private Collection: Nel Spence

Figure 2. SPENCE, Nel. 2023. The Ent-Wives. Private Collection: Nel Spence

Figure 3. SPENCE, Nel. 2023.  The Lynandria Cartel. Private Collection: Nel Spence

Figure 4. SPENCE, Nel. 2023. Artifact Sketches. Private Collection: Nel Spence

Figure 5. SPENCE, Nel. 2023. Blesses Artifact. Private Collection: Nel Spence

Figure 6. SPENCE, Nel. 2023. Cursed Artifact. Private Collection: Nel Spence

Figure 7. SPENCE, Nel. 2023. Holy Artifact. Private Collection: Nel Spence

Figure 8. SPENCE, Nel. 2023. Orc Background (1). Private Collection: Nel Spence

Figure 9. SPENCE, Nel. 2023. Orc Background (2). Private Collection: Nel Spence

Figure 10. SPENCE, Nel. 2023. The Razorboar Clan. Private Collection: Nel Spence

Figure 11. SPENCE, Nel. 2023. Artifacts of Linmarch Photobash. Private Collection: Nel Spence

Figure 12. SPENCE, Nel. 2023. Longhorn Face Sketches. Private Collection: Nel Spence

Figure 13. SPENCE, Nel. 2023. Longhorn Clothing Sketches. Private Collection: Nel Spence

Figure 14. THOMPSON, James. 2023. James' Warclaw Concepts. Private Collection: James Thompson

Figure 15. THOMPSON, James. 2023. James' Tailpit Concepts. Private Collection: James Thompson

Figure 16. SPENCE, Nel. 2023. Final Designs. Private Collection: Nel Spence

Weeks 27-30 - Reflective Journal - Easter Break and Group Project

 Keeping up with my reflective journals fell behind a ways at the end of the last module, and over Easter break. I'm making this post as both a reflection and catch-up.

The current module is a game development project, in which we work in a small group to create a game. This project allows the different classes -- artists, designers, programmers -- to learn to work together productively. Much like the game jams at the start of the year, our group is lacking a programmer, leaving our team with three artists and two designers.

At the end of the module we'll need to present our game, and create a personal vlog of our progress. I am aiming to use my relfective journals as rough scripts for the vlog.

The early stages of the group project involved pitching ideas. A few of us suggested games we'd enjoyed as inspiration, myself putting forward the visual styles of Tunic (2022) and Death's Door (2021), and one of our designers suggesting The Vanishing of Ethan Carter (2014). 

Fig. 1: Tapsell, 2021. Death's Door.

Fig. 2: McEwen, 2014. The Vanishing of Ethan Carter Photograph: Nordic Games

Very quickly the initial ideas stage became more about restricting ourselves based on limitations; e.g. no programmer, no one experienced with animation, etc. Personally speaking, I would have preferred a longer "Blue Sky" stage -- a term coined by Disney imagineers, used to describe the concept phase of a project, during which limitations such as budget and time are ignored in order to allow the flow of ideas. 

There were some benefits to this limitation however, as it meant we quickly started working on something realistic within our team. The idea we began working on was a fantasy board game, with six different factions working against each other to achieve a goal. Myself and the other artists began by discussing what the six different factions could be, deciding on six fantasy races. 

I personally wanted to avoid designing these groups based on pre-existing works such as The Lord of the Rings, which I feel is often a go-to for fantasy design. After some discussion we decided to base each group on different creatures: foxes, snakes, warthogs, fauns, birds, and trees. With that, myself and the other 2D artist began some loose designs.

Fig. 3: Spence, 2023. Rough Sketches

The artists on our team utilised the Mural app (fig. 4), which allowed use to keep all of our design references on one collaborative board.

Fig. 4: Spence, 2023. GAM703 Mural Board

References:

Images:

Figure 1. TAPSELL, Chris. 2021. Death's Door. Eurogamer [online]. Available at: https://www.eurogamer.net/deaths-door-review-wonderfully-honed-zelda-like-with-a-soulful-edge [Accessed on: 25/04/2023]

Figure 2. MCEWEN, Kirsty. 2014. The Vanishing of Ethan Carter Photograph: Nordic Games. The Guardian [online]. https://www.theguardian.com/technology/2014/oct/07/the-vanishing-of-ethan-carter-review-a-spell-binding-sinister-mystery [Accessed on: 25/04/2023]

Figure 3. SPENCE, Nel. 2023. Rough Sketches. Private Collection: Nel Spence

Figure 4. SPENCE, Nel. 2023. GAM703 Mural Board. Private Collection: Nel Spence