I would it's good.

1. Evaluation
Joe Duffy

2. Production Process Evaluation

3. Research
The product research I made was very, very extensive, with me spending up to eleven slides on
one of five games. This research was very helpful as it gave a clear analysis of what the most
common themes were through all of the games. Using this list of important themes, I knew what I
needed to focus on to make sure my FMP had the essential parts of these games. The key points
include the music which should be adding to the atmosphere, and memorable character designs
to make the player care about their story. I really tried to use these themes during production as a
prominent part of the animation.
My research into target audiences was also helpful, especially using the previous product research
games to find a demographic. This is because I already know how each game handles it's themes
so I can link the audience to the design and then relate that to my own style and genre, leading to
a target audience of my own. My own research also supported me in the production with the
survey and interviews giving me a more insightful look into what specific parts of games my target
audience prefers so I could work those views into my FMP.
The experiments gave me some practise as to what I wanted to try in my FMP so naturally did help
me work with how to convey my motions. The first allowed me to make a stylised character face,
as well as how to form a flowing animation through the hair. I also practised shading a little, when
the hair covers her face so I could see how it effective it could be. The second animation I made
was much simpler, but served the purpose of practising much more severe motion. I used an
image to draw stick figures over, and then made the characters move into each other. The walk
looked good so it gave me some confidence for when I had to do the motion with more complex
characters.

4. Planning
Initial Ideas gave me a basis to elaborate my planning off, with my mood boards giving me
ideas on what I should progress with. The colour board made sure that I implemented the
gems to liven up the cave that could otherwise have appeared boring. The ancient mood
board gave me the confidence to go with the ancient fantasy angle along with the setting of
a cave to so the ideas of mythical skeletons would fit the tone. Ancient weapons like swords
and bows also came into the board so they were chosen as character items to fit the
historic fantasy angle. Speaking of character design, I also created an elaborate mind map
full of both visual appearance and personality traits. I used this to build the protagonists to
become more interesting and have more depth.
My Pre-Production heavily detailed on each key character and area of the animation so I
had an insanely good idea of how they would look and act. By putting the colours of the
designs in a bold font, I could go back to the PowerPoint and reference the animation's
colouring to the description. Some of the character art was even coloured so I didn't even
have to look for the right sentence and the art itself, coloured or not, was a fast reference
to use if I was ever unsure of how a specific thing should look. This was especially helpful
when making Celeste as the design she has was still very new so I wasn't as confident when
making her as the others.
I also wrote lists of sound, equipment and contingencies that I would need so I didn't waste
time later in Production trying figure out what I should, by just looking at these lists. This
can be said for the script as I could just replicate it when I got to the dialogue making part
of production. I even made a schedule which, while not entirely effective, did at least tell
me where I should be and that drived me to work harder to get to that goal which was a
great motivator.

5. Time Management
Generally, this entire project had me on the back foot as in the first week we had to
complete both our Initial Ideas and Proposal in an amount of detail I had never
done before. This lead to me seemingly doing not as much as I should on the former
part, and far too much on the latter portion. While I was trying to finish my
Proposal, we were already asked to make our Research document and so began my
necessary spread on to two pieces of work that carried on to Pre-Production as
well. I spent an insane amount of time to fill the Research with lots of writing, and
from my feedback, I still needed to write more in most of the areas so it was
certainly unlikely I would make a fully finished version before Pre-Production. I had
a moment of relief when I finished what I thought to be the best version of the
Research, so I could focus on the Pre-Production, only to be told that week I
thought was dedicated to this particular document was actually meant to be
Production. This meant I had to drop Pre-Production to focus on the main segment
of the project, once again leaving me behind in one aspect. This time crunch was
made even worse by having feedback to tell me all my previous work still needed
pretty heavy alterations so everything wasn’t finished, even during the actual
production.

6. Time Management
Speaking of which, about midway through the Production period, I realised how
much I had left to do, including the environment and sound. To combat the amount
of time I had, I stayed up to seven hours longer at College and got Photoshop for the
holiday period. Without these tiring ways of managing my time, I don’t believe I
would be close to complete so it was a good choice. For the Reflections, I wrote at
night on my phone and copied my paragraphs to the document. This worked pretty
well but I did have to stack the days up sometimes if I needed to spend as much
time as I could on Production. This was alright as I left key notes for me to elaborate
on when I had time. Once I finished the Production, I went on to focus on my
Evaluation and hopefully add as much as I can to previous work.
I do think all of my work could be improved with more time. I would have more to
reflect on my work and use feedback to enhance it. I could also spend time to make
sure I know what each pat is asking of me so I don’t do too little, too much or just
completely miss the point. For my production, if I had more time the key part I
would added would be at least creating a moving sprite for the Hydragon who
unfortunately had to be cut entirely, and at most, probably have a finished battle
sequence but that seems entirely unrealistic no matter the extended amount of
time!

7. Technical Qualities
Professional Comparison

8. Technical Qualities
Similarities
The most obvious similarity to be seen between the FMP and Zelda II is that they're made in pixels,
although I guess my animation is done more so out of style while at that point in time, pixels were
the only format to make games with. The general theming and gameplay of the games are also
closely related as they share the epic fantasy angle, taking the player into a surreal yet easy to
understand world. The gameplay for both takes the role of a side-scroller since they are based in
more explorative worlds, and make the player want to further onward to complete the next mission
or avoid danger. To be more specific, the games share a cave environment for the protagonists to
move through. The caves share the quality of having unknown elements to face as they venture
forth, making these areas that seem bland on a first impression more interesting than expected.
Differences
I think I should mention that most of the visual elements and therefore limitations from Zelda II are
due to it's old age restricting the visual capabilities. However I will still look at the differences
without a bias towards this fact to make the analysis simple to conduct. While the camera makes
for a side-scrolling game, Zelda II has it's camera set much further out. This makes a big differences
as the character models are kept very simple, keeping only the green of the clothes, pink of the skin
and a brown outline, perhaps to make him stand out more. The FMP keeps the camera much closer
to the characters and so allows for a much better look at the detailed attached to the clothes and,
especially compared to Link, the faces.
The user interface is also different between the games which effects the usage of the screen. In the
FMP the menu is a pop up version, which leads to the character details, bag, etc. However in Zelda
II, the character details are set permanently at the top of the screen. This helps the player know
how Link is at all times whereas in the FMP you would need to go through the menu to find out,
however as the screen is already zoomed far out, the details at the top take even more of that
needed space to make the game more detailed. The FMP on the other hand, has a completely clear
screen so no clutter is obtrusive to the game's visuals.

9. Technical QualitiesDifferences
Zelda II has a ceiling in it's caves which helps add a claustrophobic feeling as the player goes
through it as Link doesn't have space to escape any danger. The FMP doesn't include this part of
the environment as I tried to make the cave feel large in scale and so having the ceiling appear
would make it look small and therefore less impressive. However if I were to implement a ceiling, I
would having stalactites growing out of the rocks and gems appear to make it look much more
interesting than Zelda II's version.
Speaking of a more complex appearing environment, it is clear the FMP's cave aesthetic is much
more appealing to look at. Generally, Zelda II only has a wall and a floor that links up to the ceiling.
Granted, it's wall does look better than mine since it has a consistent amount of detail that is more
reminiscent to real textured walls. However, every other aspect from the FMP has the caves from
Zelda II beat. The FMP makes the cave more dynamic by adding a foreground over the path for the
player to look at along with the other parts of the environment. The path is also placed at an angle
in the FMP so cracks and bones can be put in place to make the path more interesting, while Zelda
II keeps the path flat and all of the textures are the same so, unlike the walls, the look is pretty dull.
The side of the FMP path however has stalactites hanging off and gems in the stone, making the
design visually stimulating. While mentioning the gems, them along with the lava make the FMP
look far more vibrant amongst the browns by having bright reds, yellows, blues and greens
scattered around or, in the lava's case, have a permanent fixture. On the other hand, Zelda II only
uses browns without any differing colour which really damages the game's aesthetic as it looks
very dull. The final part of the environment I will describe the difference of the wall. I did say that
the wall textures of Zelda II were better but other than that, the wall has nothing on it so the
repetitive wall detail shares with the floor's boring appearance. To contrast, the FMP has the
previously mentioned gems, a waterfall of lava, human skeletons and a giant Dragon skeleton. This
level of detail makes the wall so much more exciting to travel through to see the next part of the
cave, while Zelda II doesn't reward exploration visually.

10. Technical Qualities
Personal Comparison

11. Technical Qualities
Similarities
As the FMP animation draws most of it’s inspiration from the previous Video Game project, there
are obviously lots of similarities. The general setting and character designs are pretty identical and
the dialogue draws it’s attention to the skeletons in the caves they travel through. They both show a
constant threat by having lava flow beneath the path and have gems that make the area look more
vibrant. A larger red gem is set at the end of both animations although the new product is similar to
the other, smaller ones to appear more natural. A bit of lighting from the torch is reflected onto the
skull in the old version so technically they share this trait, although the FMP variant elaborates on it.
Both paths have bones scattered around to create a sense of foreboding and to make the piece
more interesting to look at. Each project has two major music pieces, coinciding with the normal
cave song that transitions into a theme relating to danger of some form to make the player feel
more relaxed or stressed. Both of the games have dialogue, both audibly and visually to give the
characters more personality, although the FMP does elaborate on this with more detailed profile
pictures and different coloured text boxes. The text itself is also more consistent in shape for the
FMP.
Differences
The most obvious change would be camera angle, with the first being a bird’s eye view while the
second is set in the style of a side-scroller, set beside the characters. This change allows the details
to be far greater as all the scene is much closer to the player. While both pieces include a Dragon
skeleton, the FMP is far more impressive in scope as it takes a considerable amount of space since
the new layout lets the scene continue much further. Along with the new neck and rib bones and
wing, I also includes cracks to show its age, several blood stains to signify it’s violent past along with
the lighting having more of a glow and being throughout the bones instead of just placed on the
skull. An added foreground gives the scene more depth in the FMP, making the cave feel real. While
the Video Game lava doesn’t use much colour or motion, I tried to make the version more
noticeable against the browns of the cave and have the bubbles properly pop.

12. Technical QualitiesDifferences
The most important increase in improvement for me were the characters. I was content with Arwynn and
Fletcher’s drawn design from the very beginning but couldn’t properly show it on the small sprites. However,
with the new camera angle, I was able to provide a much more accurate design since they were bigger in size.
On a more subtle level, for the FMP the character designs are more proportionate instead of being around the
same size to accommodate for the cave's design. The characters in the FMP could emote far more since their
faces and limbs were large enough to freely modify, with their cheerier selves when walking and panicked
expressions when in danger, while comparatively the Video Game versions were basically the same model all
the way through. Celeste had a massive overhaul without moving too far from the original design. Her face is
more expressive and easily visible with the new hair and hood hanging behind her head instead of wrapped over
it. The clothing was also given improvements to make her more visually interesting with yellows being utilized to
contrast the darker colours. The animations in each product are remarkably different, with the first having a
shuffle of the legs to signify the walking movement, while the FMP has a full, flowing walking and running
animation along with small idle movements and, for Celeste, a frustrated arm raise and foot tap. The fluent
movements make the cast feel more alive and therefore more appealing to the viewer.
However, the FMP's story changes the type of danger the characters are put in, from a three headed Dragon to
an escape from falling boulders. Clearly the former sounds a lot interesting and in it's short time on screen, does
feel a lot more imposing than the latter version of threat. Unfortunately due to the lack of time left, I knew I
couldn't make a model for the Hydragon in the improved pixel style and animation like I wanted so the beast
had to be left out while there was enough time to produce the terror as the rest of the production wasn't as
elaborate to make. To carry on from this, another difference found was the lack of any battle sequence for the
new product while the old could at the very least, form the beginnings of one. Once again though, while of
course having any battle sequence with the Hydragon would have been great, the level of detail would have
been much too simple to everything else, and so felt out of place. The fight made for the Video Game project
was done in an impressively fast time so, despite the characters not having faces or the Hydragon's separate
parts being mostly stagnant, it was a surprise the sent was even made for that project.

13. Aesthetic Qualities

14. Aesthetic Qualities
Positives
I think my work looks good as there isn't a spot in the entire length of the cave that doesn’t have some
form of detail, whether it's just a crack in the wall or a huge Dragon skeleton. This is a very good positive
as players only keep going through a game if they are interested in how it's presented and I think I have
made what could have been a boring cave, an engaging environment. Part of what goes into a visually
stimulating landscape is how it moves, and I am proud of how every single piece of the animation has
some motion in it, with the cave scrolling along and changing aspects like the gems shine, lava bubbles
popping and a flickering glow reflecting off the Dragon bones at the same time. The constant movement
makes the visuals feels alive and never feel bland to the viewer.
By introducing a foreground to the animation, I think I create a pretty unique depth of field that would
usually be ignored. This depth gives the viewer multiple areas to observe as they watch the cave go past
and how they sometimes interact, like with the fire fall on the back wall flowing into the middle ground
lava and vice versa with the glow on the Dragon from the lava. The way each part connects together
makes the experience feel richer to the watcher.
For the Dragon skeleton, I was worried about capturing the scope of the massive beast. However I think I
been successful in showing it's impressive appearance. I think by having the foreground, I made the idea
of depth more obvious so the viewer could understand the skeleton is far from the characters so it's
already big size can be felt as even larger. The skeleton looks scary with it's hollow eyes and blood
covered teeth and claws which makes it more exciting to come across, in my opinion at least. The ancient
side of the skeleton is shown through the different shaded cracks which I think portray the level of age
really well. I decided to add the lava glow to make the body a bit more vibrant and by having the glow
move, made the stagnant creature even more visually impressive.

15. Aesthetic Qualities
Positives
A more personal favourite is the design of the characters. I had tried to portray the
character once before, rather unsuccessfully in retrospective, and I really wanted to do
them justice. I think I've represented their drawn design very well in this animation,
expressing their character just by sight. Celeste in particular was special as I really wanted
to redesign her without losing the essential parts. I managed to draw the look to great
success but was worried about the translation. I was pretty surprised, along with the rest of
the group, on how well they all worked and how all their models translated to the different
motions they had to. In whatever way they moved, the viewer would always understand
the reason for it and by having clarity, the person would be able to enjoy it more. The
character's personalities were also well adapted for the more detailed profile faces which
make them more memorable along with the dialogue and vocal performances created for
each character to make them more relatable than a blank slate.
The final aspect I'll look at is the audible section of the animation. The first major track
really sets the mood as the solo drum builds up into a steady beat that reflects the relaxed
feeling of walking through the cave. After a few beats, the dynamic is changed to be a little
faster, to remind the player to keep vigilant, and then reverting to the original beat. A
creative alteration to the song is to give it some reverb, to mimic the echoey sounds inside
a cave. The second major tune that is used introduces the new danger that awaits the
player. I really like the introduction to the song as it replicates an alarm to signify coming
danger, before adding a fast paced drum beat that all culminates in haunting and stressful
beat, with a high pitch beat, a deep warping drone along with the alarm and rum. The song
really amps up the anxiety the viewer will feel as they watch the characters run from the
danger. This is great since the observer can feel more in the moment with the music.

16. Aesthetic Qualities
Negatives
One of the weaknesses was how well I portrayed the lava’s liquid flow. While I think the bubbles were very
effective, I must admit the lava itself didn’t have as much continuous movement as it should have to properly
portray how it behaves in the real world. Instead, only it’s height and the slight movement of it’s strips changed
throughout which probably wouldn’t make it immediately clear to the watcher on what the substance was.
Another part of the environment that I wish I could have altered were the look of the basic walls While I did
manage to implement cracks throughout, it would have been nice to see more of the wall appear textured and
cracked up, if not all of it. The added sense of realism on the animation would have made the environment feel
more natural and ancient, fitting in better with the embedded skeletons.
Moving onto a character weakness I think could have been better, that being the fluency of the character profiles
during dialogue sections. While I think the movement they have now is serviceable and could be attributed to
the style of the game, it would have been preferable if the faces had more motion, not only in the mouths, but in
things like the hair and the overall face, then it could have made the characters even more expressive.
A major deviation I had to make due to time was the exception of the the main antagonist for the heroes, namely
the Hydragon. Even though I know I would not have been able to create the monster to a level I would be
content with in production time, I still think the Hydragon could have appeared as a bigger threat than the
boulders the animation had. The menace's size and scary demeanour could have made out for an exciting reveal
for the game.
As I try to make the characters personalities shine through well in their movements, I think it’s a shame that my
walking animation for each character was the same. Ironically, the running animation, despite being done much
faster, felt more characterised as I made the arms and faces match the person they were attached to a lot more
than the walking so I wish I could alter it. Another thing I would have liked to do would be adding an ambient
glow to the character models like the Dragon skeleton got, to naturally make them interact with the environment
and make their presence feel more real inside the cave.

17. Aesthetic Qualities
Improvements
To improve upon all the weaknesses, I would first create more layers for the lava so its
shape from the top can have more of a wave so the player can see a clear current pushing it
since it is a liquid. The strip it has would also have a more curving shape and to further
emphasize the current motif, I would have the strips be pushed to the left.
For the walls, I would add some form of haphazard cross-hatching into the walls to replicate
the rough surface, and then go in with a different, darker shade of brown to create the
depth by adding lines into the cracks. To texturize the walls, I would place darker brown
dots all over the surface.
The profiles would, as with the lava, need extra layers for more motion with perhaps a basic
face size in a lower opacity so if the face goes up or down for dynamics, the shape
consistency isn’t lost. I would probably draw out each frame beforehand to confirm if would
flow correctly so I don’t waste a lot of time doing it wrong.
I know there would be no realistic way to add a completely new character, especially one
whose design and story importance would obviously be extensive. If I were to, I would keep
the boulders in the game as more of a build up danger, perhaps caused by the Hydragon’s
roar and then have it come into frame at the end of the cave section when the characters
think they’re safe as a surprise villain to shock them and the watcher.
For the final point of the animation for the walking, I think I would make concept art before
going in to create the movement for each character like I would for their profiles. This
would give me time to think about what position would express the characters personalities
best, which I would translate into the style set up in my animation.

18. Audience Appeal

19. Audience Appeal
From looking at my survey I conducted for the Research, I believe I have made most of the appeal
that my target audience would enjoy.
To begin with, a unanimous result came with came with the inclusion of dialogue in the game. I
believe my target audience will like this feature as it helps embellish each character and make
them more endearing to the player. With the audience having a preference to more complex
narratives, the use of dialogue also helps drive the story along in a simple to understand manor.
On top of just having dialogue, the use of actual voices that can emote the sentences to convey
their feeling further to the player, make the characters personalities even more fun and
interesting to learn about. This point can be seen with Fletcher who, after the run from the rocks,
expresses a bit of his softer side by expressing gladness toward his unscathed companions.
Character building through words is a great way of developing character arcs in a subtle manor
which I think the audience would appreciate.
Another part of the project I tried to work in for the audience’s preferences was incorporating
more cutscenes into the animation, as it is a large part of supporting the previously mentioned
narratives that the target demographic enjoy going through. I blended the cutscenes with the
visual tone of the gameplay to create a flowing story that the player would feel like they’ve
progressed to. For me and hopefully the player, this would be a better experience than being
moved somewhere by the game to watch a cutscene that looks tonally and perhaps visually
different to the gameplay, which would make the player feel more like a bystander than being
involved in the characters adventure. An example of this is found when after the player starts
travelling from the Dragon skeleton, the characters are brought to a sudden stop and the
audience can immediately know from the expressions of the characters during this cutscene that
something is wrong. Therefore the cutscene serves a narrative point to the player before anyone
even speaks, making it a really effective piece of story telling.

20. Audience Appeal
In terms of intensity, the general consensus is clear that my target demographic would rather not play any game with
a low amount, like Animal Crossing or Stardew Valley. For this point, I tried to appeal to the audience by first making
the environment the player goes through look intense to hook them in. By having a slim path over a lake of lava, that
is an obvious point for the audience to look at, and because this danger lingers through the entire segment the
player is constantly the put on edge. While most players could still consider the threat of falling a medium intensity
since the characters just walk along the path, I decided to increase the danger to a high intensity by making the
player run across the path so they were not as well balanced as previously. The shift being caused by the boulder
attack causes the audience to remain vigilant where they could have been more relaxed in the walking section. I
think this would appeal to the audience as they prefer exciting games that make them a part of action.
A portion of the game the audience had a large preference for was having distinct character design. I spent a lot of
time to make sure the faces and clothes were unique, along with giving the audience an initial impression of what
their personalities are, even if vaguely. If the characters are distinct, the audience has a better chance to memorize
them and create a deeper connection to how they react to things in their own way. I made different scenarios to
develop each character’s personality, like when observing the skeleton, the lax Fletcher and excited Arwynn stop to
watch in interest while Celeste, who has more focus and impatience, complains about the other two’s relaxed
feeling. This first interaction immediately gives the audience a clear sense of what each of the characters goals are
and so makes each sentence an interesting part of their personality. Going back to the more visual design of the
characters, I’ll focus on one in particular, that being Fletcher. The obvious reference is Robin Hood, who is an ideal
hero type which already gives you the idea of how Fletcher sees himself. This hero motif carries on though the entire
design and, especially compared to the other characters, really makes the flamboyant nature of his design
humorously ridiculous which should appeal to the audience’s wish for more distinct and memorable designs. The
mask and cape are blatant nods to the more classic super-hero look, and the fact that they’re entirely unnecessary
for him makes them stand out a lot. The large grin and uncontrolled hair makes the audience believe he thinks he
looks cool but when he gets scared, we can see that he can act like a child by flailing around instead of helping. The
last part of the design I’ll mention is the armour he wears. This tell the audience that he knows protection is a must
but has to have elaborate patterns to show off, increasing his egotistical persona and adding just a bit more to the
character’s personality just through appearance.

21. Audience Appeal
When asked about how detailed the audience prefers the games they play to be, a majority
preferred the simple, pixel art style as opposed to highly textured, 3D visuals that appear in a lot
of modern games. I will agree that there is a charm to pixel games that a lot of visually complex
games cannot capture since the motions of the pixel format feel more alive and free flowing, in
my opinion. I think this is the case because since the developer is only using simpler visual styles,
they have to make each part look really interesting so the audience is engaged with every part of
the game. I tried to appeal to this preference by making the pixel art of my game have some
energy put into their movements, giving the visuals that charm that so many other pixel games
can create. The walking and running animations have a bobbing motion that will be nice to look at
as a part of the audience instead of restricting the movement to just the legs, therefore making
the already simple visuals boring when they could have a unique an interesting form of motion.
Moving away from the visuals, the audio is also a thing that the audience has a preference for. It
does make sense that, as the intensity was wanted to be medium to high, the music would be
better appreciated by the audience if it was more energetic. The music can make any scene have
more of an emotional drive for the audience which I really wanted to tap into. The first piece is a
little slower and steady, more so to match the ambience of the cave and setting up as a contrast
for the next track to be put against. However, the first tune isn’t without it’s slight increase in
energy as a new beat is spliced into the the song at every four repeats that increases the tempo
and re-energizes the song to grab the player’s attention. The main source of energy with the
music begins with the coming threat of the boulders. The alarm sound describes to the audience
that danger is imminent before any character even says anything so the player can anticipate and
therefore be excited to find out about the characters reaction. The music builds up to feel more
dramatic and fast, hopefully relating to the audience's stress increasing as the situation gets worse
in the game.

22. Peer
Feedback

23. Feedback 1
Likes
• I really like the amount of detail added into the design work. Everything is
also consistent it all has the same style and works well throughout.
• I also like how you made the different components move together at
different paces an example the slower pace of the lava compared to the
cracks on the walls
Improvements
• To improve upon I would say lower the background volume a bit as it is
quite hard to hear what the characters are saying without reading the
subtitles
• I would also search for a few more sound effects to go with the terrain like
spitting lava bubbles etc.
• A small detail that I don’t know if you want is between when the boulders
are on screen and the characters stop running theirs a pink crack that
appears and disappears it looks a little out of place because it doesn’t
appear anywhere else

24. Feedback 2
Likes
• Okay. The way the camera moves with the characters at 1:23? Big fan of that.
Really feels like an actual game from the era of this style. The artwork the very
detailed and looks great, the textures and shading on the fossil of the dragon really
make it feel like actual bones. Also, the way the lighting moves with the magma
really gives life to the piece. The shapes and colours of the character designs give
an immediate feel as to what the characters are like, both in personality and in
their roles in the group. The dialogue boxes feel really authentic and the colours
used here reflect the character designs without making the face image difficult to
make out. The faded opacity on these work really well to make them feel real and
allow for the images behind to still be seen. Additionally, the way the faces in
these text boxes change depending on the characters’ moods work really well to
show their emotions and make them feel like real people.
Improvements
• An improvement would be to add a backing track and SFX to reflect what’s
happening on screen. The SFX could be used to not only give audio to the
environment, but also to the text. Different pitches and instrument types would
help to reflect the characters’ personalities even further.

25. Feedback 3
Likes
• Initially I like the start of the video as with the option menu thing as the arrow goes
down and I like all the attention the detail in all the little things and the characters and I
think they all match and fit in the same theme. I think there is a good colour scheme
here and it fits in with the brown floor and walls. I think the way the characters walk is
animated really well and looks really realistic , I do like the voices and the subtitles as it
makes it easier to read and I think it fits in well. I think overall the attention to detail is
really good and makes the video seem very professional and well planned out.
Improvements
• I think the beginning of the video with the harsh stomping noises is a bit confusing as I
don’t really understand why they are loud bangs and then it fits in well with the music
but the beginning seems weird when the sound doesn’t really match the people
walking or moving around for a few seconds. I don’t really like the sound of the voices
as they are quite hard to understand even though there are subtitles its quite a weird
noise pattern to choose alongside the background music. I think when something is
wrong in the animation and they are getting scared there are too many different noises
going on and it makes it quite hard to really keep track about what is happening.

26. Peer Feedback Summary
• What do you agree with from your peer feedback?
I do agree that I could probably decreased the volume of the background music as the
voices can be a little drowned out, especially in the busier parts of the songs. I would
agree I should try to add sound effects for things like walking and lava. Maybe even
the dialogue transition sound could have alterations, like the menu sounds but that’s
probably less likely to happen. I have to agree that there is a small hot pink line that
appears on the path during the end scene, although I think it is so insignificant that I
don’t feel a real need to back in to edit it out and go through the process of making it
a video. Good eye though, I would never have seen it!
• What do you disagree with from your peer feedback?
I have to disagree that the intro to the first song is weird as it builds up to the full
version of the song, as was said later in the sentence. I also kind of have to disagree
with a compliment!! The environment layers were all changed together so I can’t
credit for doing a lot of multi-tasking. However, the fact that I could convince someone
that it all moves at different speeds is commendable. While the voices are warped,
they are intentionally not as clear as regular speech to mimic the grainy voices used in
retro games when sound wasn’t as elaborate as modern day game technology.

27. Peer Feedback Summary
Based off my Peer's feedback, one of the changes I would implement would be sound effects
through the animation. I agree that these effects would certainly add to the atmosphere of
the visuals and therefore make the reactions of the environment more interesting to listen to
instead of just looking at the movement.
A sound effect I would add within the time left include crackling lava. This is because the flow
of magma continues throughout the entire video so could give the audio a form of consistency
as well as making the viewer imagine that the lava actually radiates heat in the animation.
Another sound effect I would add is a crashing noise for when the boulders make contact with
the floor. The sound would give the rocks more weight and therefore feel like more of a threat
as the watcher would think about the sound the boulder would make it got to one of the
characters. By having this effect, the stress is increased a lot more than the silence the
boulders make initially.
A second change I would make using the feedback would be the modifying of volume on the
animation. Making sure the sound is correct allows the viewer to enjoy the video completely
without any problems with hearing something too quiet or loud. I think the audio can subtly
make the world feel very real so if it isn't accurate it can really take the observer out of the
scene.
The point about the voices being pretty hard to hear with the background music clashing is a
just one and I would make sure it isn't a problem by dropping the volume of the music so it
doesn't interfere with the conversations as, in my opinion, that part of the audio holds a more
important spot in the game.