Hibbidy Jibbidy

1. Adventure
Part I

2. The
Hero’s
Quest

3. Use this page to
breakdown an
existing film, using
the Hero’s Quest
theory. How does
your chosen film
fit with this?
The Ordinary World Luke on Tatooine.
The Call to Adventure Luke inheriting the droids and R2D2 running away.
The Refusal Luke wanting to stay on the moisture farm once Obi Wan tells him to go to Alderaan.
Mentor Help Obi Wan teaching Luke a small amount about the force.
Crossing the Threshold Going to the Death Star.
Test/Allies/Enemies Saving Leia / Obi Wan, Han Solo, Princess Leia etc. / Darth Vader, Stormtroopers
Approach To use the force to attack the Death Star.
Ordeal The Empire are going to use the Death Star to blow up Yavin 4.
Reward
The Rebels destroy the Death Star and Luke finds a new group of friends and a new sense of
purpose. They also get medals.
Road Back The group fly back to Yavin 4.
Atonement
Han Solo gets his moment of atonement when he comes back to help Luke. Luke has his
moment when he realises Ben isn’t really gone forever, after not being able to save him.
Return
The group return to Yavin 4 and Luke eventually returns to Tatooine all the way in a later
sequel.

4. Equilibrium
Disruption
Recognition
Attempt to repair the damage
New Equilibrium

5. Equilibrium
Life on Tatooine
Disruption
Buying the droids. Obi Wan’s
invitation on the adventure
Recognition
Obi Wan’s Death
Attempt to repair the damage
Destroying the Death Star and
saving countless planets
New Equilibrium
The new group of friends that
can all travel together with a new
sense of purpose
Use this template to apply Todorov’s theory of equilibrium to your chosen film. Write in the boxes to explain what is happening in
your story at each point.

6. Character type How they appear in your story
The Hero Luke Skywalker. Appears as a youthful farmer who is desperate to join the War for some adventure but ends up
getting called to arms by the opposing side, when his Uncle and Aunt are killed by the Empire.
The Villian Darth Vader. The mysterious leader of the Imperial forces who possessing ancient powers and intends to use his
new base as a means to rule the Galaxy.
The Helper Han Solo. The scruffy sidekick to Luke who ends up helping him most at the end when he gives him the window
for a clear shot on the Death Star.
The Donor Obi Wan Kenobi. An old sage who gives Luke his first lightsaber and tells him of the Republic. He tests him also
in the ways of the force throughout the film.
The Dispatcher Obi Wan Kenobi or arguably C-3PO. Obi Wan takes Luke on the main quest of the film but C-3PO initiates it
when he recommends Luke to follow up on where R2-D2 has gone. 3PO also initiates the quest just by being
present at Luke’s house and the events that led him there.
The Princess or prize Princess Leia. Literally she is the princess of the film but she is not the love interest to Luke, instead to Han. Han
has an inability to be with her due to her higher standards and disregard for how he behaves. The films do
however end with the two together, meaning the typical story structure is fulfilled there.
The Princess’s Father Literally Bail Organa but since only mentioned by name, Mon Mothma is the best substitute.
The False Hero Han Solo at a stretch. There are moments in this film, especially during the Death Star rescue run, where he tries
to claim full credit for the rescue of Leia, from those who deserve it like Leia herself, Chewbacca and Luke.
Use this template to apply Propp’s character types to your chosen film. Write in the boxes to explain which character acts as each
type in your film.

7. WWWWWH
Who Luke Skywalker. A young farmboy who has ambitions of adventure but has the simple life enforced upon him by his Uncle, leading to him
becoming inquisitive about what reasons his Uncle may have for this.
What Luke is taken on an adventure by an Old Wise Magician or Jedi, Obi Wan. He meets others along the way as he discovers new powers
he possesses in the process of trying to defeat an Imperialistic regime that threatens death upon those who oppose them.
Why Because he craves adventure and when the universe depends on him, he begins to have a sense of purpose and a sense that he
needs to help, in the classic fashion of a protagonist.
When A long time ago.
Where In a galaxy far far away.
How He defeats the enemy by firing a laser into the weak spot of the Death Star using the force to give him the senses he needs to
achieve the shot.
Use this template to apply Who, What, Where, When, Why and How to your chosen film. Write in the boxes to explain what is
happening in your story at each point.

8. Initial Ideas

9. Idea 1
Who Young, charismatic Daniel Edison. A guy living his best life at an early age, with very little awareness of the world around
him.
What Discovers the world is beginning to fall apart around him. Things aren’t as they seem and he falls quite
severely ill with migraines and fainting episodes but when he visits multiple Doctors they tell him he’s all
well. This leads him to go on a journey to discover what’s going wrong with his world but in the end he finds
out he was in a simulation as an old version of himself, trying to relive his prior days before his death.
Why His motives lie in the fact that he doesn’t know what’s wrong with everything around him and wants
answers to all his questions, including why he’s so unwell.
When In a future not at all dissimilar from our current but with the added inclusion of seamless virtual reality. But
also in essentially present day unchanged when in the simulation.
Where In a simple town in the UK.
How He discovers he left a way out of the simulation for himself. He’s essentially following his own clues but
doesn’t know it yet. These clues include people who are fabricated by the simulation helping him, as well as
people he truly knows and objects of importance to him.

10. Idea 2
Who A child, Lucie, around 10 years old
What …begins to have nightmares so great that they manifest in the real world and begin to hunt her down. She
must now learn how to combat these with manifestations from the positive parts of her mind or fall victim
to villains of her own creation.
Why It isn't ever specified why this happens but there is an elusion to the idea that this stems from the power of
the child's imagination and the fears that accompany it when it is left to work freely.
When In a parallel version of the modern day, where most of the world is similarly advanced. Night time.
Where In a small unspecified city of great proportions, featuring the child's house as the primary location alongside
streets and alleys.
How After eradicating all the spirits that are the cause of this greater fear, using the power to conjure tools
against them that Lucie possesses, Lucie wakes up back in her own room with all the fears of that world
gone along with almost all the magic that resided within.

11. Idea 3
Who Samuel, a young accountant in training working from home.
What Gets trapped inside their house after a governmental military experiment mistakens his house for a scientific testing
ground. While accepting this as just a strange jammed door situation, Samuel gets met with 3 tasks: Continue his
accountancy job til the end of work hours, wait for someone to come out and repair his door, and deal with the absurd
scientific anomalies that keep occuring in his house that he just takes for granted (e.g. man sized house spiders and gravity
wells in the bathroom etc).
Why Once the government scientists begin their experiments in the house, they have no choice but to continue there and
seeing as though Samuel seems unphased by what goes on around him, the scientists see it fit to trap him in his house so
none of the experiments run loose. They do this without telling him and expect him to play a part in the experiment
instead.
When In the modern day, a practically identical caricature of our real world. From 9AM to 5PM, with indication of the time
throughout
Where Samuel's house exclusively
How Samuel wins the day the same way he started it, with the assumption that all is normal. One of the scientists comes to
pretend to be fixing the door for him, at which point Samuel has conquered every one of the obstacles that he was met
with in the morning, vastly outperforming what any scientist has ever been capable of.

12. Mood board:

13. Research
Research

14. Existing Product
Characters:
- Facing upwards; Connotes a large threat
- Facing away from the audience; suggests they’re pre-
occupied. Makes the audience want to be in on what they
know.
- Full body shot; Perhaps to show off the new costume. Perhaps
to reference how this movie is very action-central
- Lois is standing in front of Kal-El with similar stature; Suggests
she will play an active part in the film’s conflict, instead of just
playing the damsel stereotype.
- Superman holding a fist; Solidifies conflict. Suggests the fight
will be intense enough to require his full force.
- Lois’ costume is quite typical of a reporter. Also, quite
sophisticated. Once again suggests how she will play an
active, investigative part in the movie. (This is significant as
female secondary characters were often mistreated as
defenseless in Superhero movies to this point; e.g., MJ in
Spider-Man, Rachel in the Dark Knight trilogy etc.)
Titles:
- ”Man of Steel” is stylized to look materialistically like
Steel. It’s also shining, suggesting he’s in his Prime or
quite fresh and polished. It’s also at the forefront,
drawing the consumer’s eye.
- ”The Heroes and Villains Issue” is red, like
Superman’s cape. Red is also commonly a superhero
color, meaning it would work for most in this issue
(e.g., Iron Man, Spider-Man, Scarlet Witch also).
Heroes and Villains also puts heroes first,
emphasizing that they are the main focus of the
movie and will likely prevail over the villains.
- The largest text typographically is the magazine title
Total Film, with the latter word being the larger part.
This is or was likely the logo used on all magazines of
theirs, which efficiently portrays to the consumers
what this magazine’s running focus is. Anyone
interested in film and thus this magazine will likely
be instantly drawn by the word Film, which sticks out
firmly from the background due to it’s clean white
colour and fans of Superhero products will then be
able to instantly recognize Superman at the
forefront.
- “It’s Time for a Change”; Most likely a direct
reference to how Man of Steel was supposed to
launch Warner Brother’s rival franchise to Disney’s
Marvel Cinematic Universe that had just seen its first
team-up movie, the Avengers release and be a
monumental success.
Background: Dark like Superhero movies were striving to be at
this time as they believed it made people take them more
seriously (e.g., Nolan’s Dark Knight Trilogy, Blade, Kick Ass).
Scattered colour looks gritty and harsh, which solidifies the same
idea that this movie would be more raw.
”The World’s Best Movie Reviews”; Self proclaimed but still makes
them look official and trust-worthy. The stars surrounding the text
are also reminiscent of rating stars which fits this magazine within
the thematic confines of other films and TV magazines. Also, the
quantity of stars will often trigger the subconscious idea that a
product is high quality, as 5 Star ratings are objectively well-made

15. Existing Product
”Entertainment Weekly” title is illegibly obscured. This
shows how confident the magazine are in their brand
identity and popularity. It’s almost a show of status to
have the character cover their logo.
Background is bright, spectral and multi-coloured
which replicates the feel of an old film projector.
The colour is similar to that of the Marvel intro as
well as other sci-fi franchises, solidifying its
standing in that genre to someone aware of the
pragmatics.
A small pixel art inside the logo to add further
intricate detail. Also acts as a nice easter egg in
reference to the film’s plot which adds a level of
crossover between the film’s universe and our own
which fits with the meta intentions of the film.
Main character takes the forefront of the picture
with the largest page space. Highly obvious, can
be recognised even from a distance. Gives and
immediate obvious representation of what the
focus of the magazine will be that week. Is
reaching out towards the audience to suggest
that they are close to the character and therefore
more involved in the advertised movie.
Is wearing a very obvious visor which depicts the
focus of the movie besides the character and
provides all the connotations of a sci-fi movie
needed to inform the audience of the genre
before perhaps they even know what it is
specifically.
Titles with larger bold contrasting writing
that depicts two topics that were likely
big in the media at that moment and
may cause intrigue.
Steven Spielberg's name is highlighted as he has a
reputation of being one of the greatest, most
notorious Directors in Hollywood. His name would
attract people to the magazine.
Small dice, likely 20 sided, could be a reference to the
boardgame Dungeons and Dragons which is popular
amongst certain gaming communities. Could give
some hints towards the main character's
characteristics and interests.
Tye Sheridan at the forefront of the poster. Similarly
to the Entertainment Weekly Logo, even obscured
this actor is recognisable on account of their main
role in franchise movies like the X-Men series.

16. Existing Product
Advertising for products included with
the magazine or elsewhere. Same colour
as oneanother to split them apart from
the rest of the magazine. Most vibrant
part of cover, as they are a component
that would entice people to buy the
magazine.
Entire magazine is in a purple and pink
colour scheme. This is likely on account
of this being the colour specific to this
movie and its advertising. Where
Avengers Infinity War had Gold as its
thematic colour, Endgame had purple
(likely to reflect the colour of the
antagonist alien's skin). The colour also
has many connotations, from being
related to cosmic themes to being
related to regality, two concepts of which
are explored in their own rights in this
movie.
The Characters, as per usual, stand at the
forefront of the piece, in powerful low angle
stances to show their adeptitude at this point in
the narrative. This particular cover also only
includes the original six Avengers from the first
movie, likely to alert people of the fact this will
be the final movie to focus solely on these six, as
well as to entice people into reading into the
magazine and the movie itself, due to the fact
they have followed these characters from their
inception. This is also the reason Tony Stark can
be seen at the front of the poster, as he had
always been a fan favourite in the series and his
story in particular was coming to a climactic end
in this movie, more than some others like Thor
or Hulk.
The title of the magazine is at the top as is typical,
obscured slightly by the Hulk, though same as
before, most readers will already be familiar with
Empire or be able to infer their title from what can
be seen.
The titles at the bottom are in two separate fonts,
likely because the Avengers name is implied when
someone sees these characters but also when they
read the title Endgame, meaning that can be in a
much thinner less notable font, as to not cover the
characters. The title Endgame however is one of the
largest bits of typography on the page, as it is the
name of the film which would be known as the
finale to this unprecedented saga. The subheading
at the bottom just goes on to emphasise the
importance of this movie, implying that it is "the"
movie event of the decade and therefore isn't to be
missed by the consumers seeing this cover.

17. Research Summary
• What have you learned from your research?
• Characters should be at the forefront of the poster or cover and take up the most
space on the page.
• Colour is one of the most important things to consider. Contrasting colours are the
most visually appealing and are more likely to cry out to someone in a retail setting.
• Text should be minimalistic and not cramp the page too much. Symmetry is best to
consider with text placement.
• What aspects of the research will you include within your own work?
• I will include the focus on colour and lighting, as well as the focus of having the main
character take up the page. I will also take inspiration from the placement of the text,
from the Header at the top to the subtexts below, surrounding the characters.

18. Bibliography
1. Developer. (Year of Release) Game’s Name

19. Bibliography
Pre-production and Planning

20. Magazine and advert layouts
• Title at the top of the page, large text, partially concealable by main
subject
• Main subject in the centre of the page, taking up the largest space
• Subtexts about other topics around the edges of the page
• Smaller details at the bottom of the page
• A background reflective of the vibrancy or colour of the piece
stylistically

21. Contingency
What can go wrong? What can you do if it does?
SD Card is full Offload images at the end of a session to
OneDrive and then delete them from the SD card.
Files can have trouble transferring If this is the case, find another way to get the files
onto the computer. Perhaps take some backup shots
also on your phone to use in a worst case scenario.
Files can be lost Backup all files to OneDrive every chance you get and
try make extra copies in different places too in case
that ever becomes compromised.

22. Risk Assessment
What could be a risk to you, others or the
equipment?
How can you make sure that doesn’t happen? What
will you do if it does?
Water damages computer or cameras Don't have drinks near the equipment. Don't shoot
anything outside with weather predictions of rain.
Heavy equipment such as lighting rigs or props could
fall on people.
Remain away from the equipment unless necessary
that you approach it. Be sensible when shooting
photos and give the model space to pose.

23. Shot List ideas
Shot Idea In Studio or Outside?
Medium Close-Up, Low Angle – Arms reached out in a projection pose
– Stern expression – Facing to the right of the camera
In Studio
Medium Close-Up, Low Angle – Arms reached out in a projection pose
with one hand on temple of head – Stern expression – Facing to the
right of the camera
In Studio
Medium Shot, Mid-Low Angle – Arms either side of their hips as
though they're holding two objects – Ready for combat pose – Facing
forwards and looking into camera
In Studio
A shot in a bedroom or in bed as that is the starting location for the
story – Possibly ECU or just CU – Fearful facial expression as that is
how the character starts
Outside studio – At home – At Night
A shot in the street with a streetlight being the main subject other
than the character – Very urban background with lots of other lights
or cars – Character looking into the distance, perhaps at any enemy
who emits a green hue – More likely a LS
Outside studio – In City Centre – At Night
A shot with a weapon if possible – A bow and arrow or sword that
could be glowing green and be edited to be transparent or perhaps
just the mimicry of holding a sword
In Studio
An ECU of the model's hand that could later be edited to be holding a
glowing ball of magic or the sort
In Studio

24. Production

25. Magazine Double-Page Spread
Things done well:
• Subject looks near enough as
though they’re in the world
around them. Well cut out.
• The special effect looks
compelling.
• The page is consistent in its
style and the background
remains behind the text
Improvements:
• Needs more colour
organization. Too much green.
(Maybe add Red)
• Add film title – Imaginari?
• Add some evidence of double
paging. Maybe a clean split or
border
• Possibly Page Numbers also

26. Magazine Front Cover
Things done well:
• Subject is well emerged from
the background.
• Green effect on lips and eyes
is interesting in contrast to
the black and white. Same
with the lanterns
• The magazine name is
compelling enough and well
placed.
Improvements:
• Possibly add a border to make
more concise
• Add more text, possibly about
other stuff
• Make text a different colour
to stand out more
• Possibly edit the fonts around
the page. The logo for one

27. Using your plans, produce:
• A synopsis for your film
• A magazine front cover, promoting the film
• Additional advertising to promote the film

28. Synopsis
Use this space for your synopsis. If you have produced different drafts or alternative ideas, then include those here too.
The more work the better. Show your working.
Final Synopsis: Lucie, a young girl living in an urban wasteland, finds her biggest fears and nightmares begin to
manifest in the real world. Luckily for her, this isn't the full extent of what her imagination is able to manifest. To
combat these nightmares, she finds herself taken away on a Quest of her own creation, with weapons of magical
origin, knowing once her nightmares are defeated, she'll be able to rest for the night with a newfound sense of
emotional control.
Other ideas: I had considered the other two original draft ideas to be the main focus of my piece but thought
stylistically, I could make this one visually unique. I also messed with the idea of this fantasy world being set in the
real world or being just a typical superhero-esque story about someone with conjuration powers. I was inspired by
the dark but very metaphorical universe created by the Little Nightmares narrative team, as it awesomely reflected
how small young people can seem against a greater less innocent world. This concept was what influenced my piece
most from there on out and allowed me to think along the lines of this whole universe that Lucie creates being a
metaphor for a coming of age narrative.

29. Advertising:
Use this space for your advertsing. If you have produced different drafts or alternative ideas, then include those here too.
The more work the better. Show your working.

30. Adventure
Part II

31. Bibliography
Pre-production and Planning

32. Idea Generation
2D – Side Scrolling or Fixed Area levels from 2-dimensional perspective
either angled down on the playable character or from a side view
Inspiration Games: Pokemon, Binding of Isaac, Broforce, Terraria, Super
Mario, Night in the Woods, Undertale.
General Idea: Combat via lasers. Lasers can be upgraded when special
items are found. Special items will also alter the character’s
appearance.

33. Style Sheet

34. Game layouts
• Layout would be a merge between overhead and side
scroller view. This could be alternated between to allow for
more complexity in the depth of the levels, despite them
being 2 dimensional.
• Binding of Isaac is probably most similar to what I would
want to achieve in terms of level structure. Levels would be
linear but allow you to backtrack and go to different areas.
Stardew valley would be another game I would consider
inspiration for how I would want my world to be.
• If possible, I would like to make all sections of the game part
of one large consistent map, as to avoid too many loading
screens. Areas would be greatly contrasting though, with the
running themes being night-time and suburban scenery,
similar to Little Nightmares.
• The game world would be primarily blue tones, the character
primarily red and the enemies primarily green.

35. Game Summary
A quick summary of the game.
• Main Protagonist gains powers after they come across a “nightmare” and confront it. Nightmares are ghosts that embody the biggest fears of people in
this town. Only our protagonist possessing the ability to defeat them and absorb their power to utilise against yet more of them in pursuit of ridding the
world of their fear mongering.
• Players control our protagonist in an open world-esque landscape where they must venture through several different areas on the map to defeat
nightmares. These areas would be all unlocked from the get go to explore but one area in particular would be imposed on the player with the
assumption that the other areas are too advanced for the player to beat yet without further gear.
• Players would gain experience from defeating nightmares that they could use to upgrade an aspect of their character (e.g. Health, Speed, Stamina,
Strength of attacks, Range of attacks, Speed of attacks etc); This would be done similarly to the internet game diep.io.
• At the end of each area the player would find a mother nightmare which would act as a Boss for that section. They would be guarding or preventing the
player from getting to a piece of equipment that would assist them with furthering the game; This could even be an aspect of the mother nightmare’s
own abilities. The player would have to figure out the way in which each boss works to defeat them and gain their power.
• Once an area is set free from the mother nightmare, it could clear of enemies, allowing the player to pass through. The player, who would have
absorbed the mother nightmare by now, can also employ that entity’s ability to get to area that were previously inaccessible. This could include a
grappling ability or the ability to light areas. The mother nightmare’s stolen ability would also change the character’s appearance in some way though
this could possibly be on a toggle.
• This would continue on until every area was cleared form the nightmares
• The replayability factor would be being able to restart the game with all your levelled up attributes or equipment or both, similar to a New Game+
system. Another replayability factor could be further bosses added later or the ability to choose from a different skillset at the start of the game.
• Skillsets would change the base attack and possibly movement types of your character. This could be anything from an agile character with a sword to a
heavy armoured character with a crossbow. Ideally, this could be mixed and matched to create different combinations. Also ideally, the protagonist
would be customisable in terms of appearance also, with a prefix for it to resemble the Franchise’s lead character for the first playthrough.

36. Game Overview
Theme / Setting / Genre
• Dark, Dystopian but advanced city
landscape.
• Green spectral enemies. Large with greed.
Mother nightmares being especially
uneasy looking
• Main protagonist would be innocent
looking, young, small in comparison to
enemies and world
• World would be generally abandoned and
cold with only larger figures walking the
lands (to suggest the idea that this game
is based on a child dealing with their
nightmares)
• Open world with mainly cold blue tones,
contrasting greatly with the characters
• Biggest inspirations: Little Nightmares,
Luigi’s Mansion, Little Big Planet

37. Game Overview
Core Gameplay Mechanics
• Parkour elements
The traversal around the map would be governed two dimensionally. This would be similar to how Little Big Planet does its traversal with an aspect of 3-dimensionalism in
that everything is built to resemble a 3D world but the actual platforming is done in 2D.
• Combat
The combat as a concept would be different depending on how you customise your character. I would likely have 3 weapons be available to the player (e.g. a Bow, Sword or
Whip). The combat wouldn’t be dissimilar from Spelunky but slightly more high pace and fluid. There would also be three different styles of character that would affect
combat (e.g. Light, Medium and Heavy (affecting speed, damage and health). There would also be abilities you would gain from the bosses that would allow you to use
different attacks (e.g. a lantern that lets you stun enemies or a hook that lets you grapple enemies – similar to God of War). Each weapon would have a ranged and close
quarters attack – Sword throw or slash (pick up after throwing to use again) – Bow shoot or use as arrow as puncture weapon – Whip use to stun enemies from afar, pull
them closer or entangle them at close proximity. This would be to make the combat balanced no matter which weapon is chosen. Still, a weapon is best used at its intended
distance.
• Open World exploration
Due to the game’s 2-dimensionalism, the open world would be completely linear and thus imagined as the shape of a circle. Once all the game has been complete and every
nightmare is gone, the character ends up back in their bedroom to fittingly close the game off as it started. This does mean however that you can backtrack and even move
forward to other areas by discovering shortcuts. The player can primarily move in the X and Y directions, so up and down but I would also have certain doors or corridors
etc that leads you in the Z direction to show you areas that were behind the walls of the world beforehand. The traversal would primarily consist of jumping, dodging,
crouching, using your surroundings and sprinting to get around. There would be later upgrades you could get from bosses to give you the ability to grapple or glide for
example.
• Abilities
The abilities in the movie this game is based off are similar to green lantern in that the protagonist can conjure different objects. However, they are much more limited in this, only
being able to conjure what they absorb the cosmic pattern for. At the start of the game you would be capable of absorbing your first nightmare and gaining a weapon from it. This
weapon is your first ability. You will then gain abilities for every mother nightmare you defeat from there on.

38. Upgrade
Character
Core Loop
-
$
Enter Arena Battle
Payout
To Winner
-
$
+
$ Unlock
New
Arena
-
$
Story and Gameplay
Story
Ties into the movie: A girl’s worst nightmares begin to manifest in the real world, as her imagination becomes the
breeding ground for conjurations of evil spectres, as well as her only method of defence. She becomes capable of
constructing tools to defend herself with to an equal degree, provided she possesses the willpower, and so her Quest to
vanquish all her biggest fears from the world begins.
The story would consist of some straightforward enemy interaction sequences while simultaneously possessing
aspects of a coming-of-age story, as the underlying theme of the story is a young person trying to deal with their fears
in the way that seems most sensible to them.
Core Gameplay
The Game Loop:

39. Levels
Details about how many levels.
There wouldn’t be levels per se; I would instead have the entire world be open. For the sake of a level-like system however, I will refer to each separate area
in the open world as a level on this page, with an open world area or level being liberated whenever its local Boss is defeated.
How levels will vary.
Levels would vary in terms of their surroundings. I would aim to have each area be vastly stylistically unique in terms of colour, structures and buildings,
enemies and enemy types and general themes. The general theme would dictate what the enemies in the area appeared like as well as what the main boss
would behave, look and attack like. For example, one area could be an abandoned hospital where the enemies are all dressed like medical professionals, with
the final boss being in a lab coat and possessing weapons that mimic operational tools. The area would thus appear mainly white and clinical and the boss
fight could end with the main character earning the ability to use stims or full syringes to heal themselves of damage. That’s just one idea for an area. The
areas common quality would be that they’re all based on realistic locations that could appear in a typical small town village.
An example of a beginner level.
The Beginner Levels would be congregated around where the player first spawns (their bedroom). They would likely consist of rooms in the first house or a
corner store at a stretch etc. They would have basic enemies with little to no defining characteristic of strength, speed, stealth or otherwise. There would still
be certain areas in these beginner levels that have to be traversed, with some of them being only accessible after abilities gained through defeating later
bosses were unlocked. This would contribute positively to the replayability factor. These beginner levels would be straight-forward however, not throwing too
high a quantity of enemies at the player and the final boss of these areas would likely be slow and easily defeatable, if not guaranteed to be defeated despite
your battle’s outcome, like in Fallen Order where you’re supposed to be beaten by Vader etc.
An example of a complex level.
The complex levels would be further from where the game starts, perhaps with one being close in order to scare the player into avoiding it and progressing
elsewhere. They would consist of harder to traverse areas. I would achieve this by having the areas start crumbling into a more Hellish landscape due to the
main character’s powers falling out of control. Players would have to travel across destroyed buildings, fight enemies of stronger types such as large powerful
brutes, flying spectres or sneaking stealthy assassin type enemies. They would provide a further challenge to the player as they’d have to approach different
ways of defeating them. These areas would also be accessible to lower levels though they wouldn’t be easy to go through and would be advised against. The
Bosses in these areas would have everything from more Health to quicker speed of attacks, requiring the player to adapt more than they had to prior

40. Assets
● Use this space to show the assets that you have made.
● If they are animated, then embed those animations on to your blog. They won’t work if you embed them here.
● Assets could be character designs and animations, environments, power ups, enemies, game over screens. Make
as much as you can, to get across how your game will look and play.

41. Evaluation

42. P Research
I believe my research to have been overall very beneficial to my final product. The in-depth look into
pre-existent Film related magazine covers, especially in the Sci-Fi genre helped to give me an idea of
what stylistic tropes they use and most importantly, the typography and graphology of each cover
and the consistencies or inconsistencies that can be seen when comparing them side by side. I also
got an idea for what sort of images I'd be best taking during my photoshoot to mimic these covers
best.
Overall, I was happy with the amount of detailed analysis I managed to pull from these, though if I
were to do my research again in future, I would definitely put more focus into finding other types of
advertisement focused media such as plain posters or billboards, to see how they differentiate and
see if there is anything to be taken from their differences to better what can be seen from the
conventional tropes of such magazines as Empire or Entertainment Weekly.

43. VG Research
Overall, I was content with the research I managed to do to produce for my Video Game. Everything from
looking into the story tropes of videogames, to looking at pre-existent games with certain unique styles
and even looking into movies that had similar styles to what I was wishing to derive my work from
allowed me to construct a better sense of what works in the setting of a videogame and what can be
achieved within the constraints of level creation that may otherwise be drastically different in the setting
of a movie or such. The main thing I had to bear in mind after my research with videogames was that the
player has to have freedom to gain a sense of replayability or enjoyment in a game; Successful games that
are linear are often one time experiences that a player can only revisit once the original play through has
dropped enough from their memory to warrant a nostalgia trip, therefore if I were hoping to invest in an
open world game with the intention of making it expansive and consistently enticing, it would have to
contain a large amount of attention to detail and constant variation in its level design, enemies, weapon
types and combos and more. This was a fact that was invaluable to my project as a whole, inspiring me to
consider how the open world could change as you go across the city landscape, with stores being
different to the original house which is different to a balcony, which is different to a street both
stylistically and aesthetically, as well as helping me to consider how progression would work and how
enemies would advance to give the player the opportunity to utilise a certain weapon they might have
just gained from a final boss etc.

44. P Planning
I would say personally I felt planning went well for this and equipped me greatly to proceed with the
production side of the project. The main thing that assisted me in this section was the shot list I
comprised with different ideas of what I could shoot going into the Studio, so that I didn't have to
waste time with idea generation on the spot but instead, if more ideas came to me in the moment I
could just expand on the already existent list and work far more efficiently.
I also found the contingency plan and risk assessment to have been beneficial in making sure I had
considered the logistics of everything that could possibly go wrong with the project so that I didn't
end up having any issues that prevented me from either being able to continue or caused any harm
to any of the people or equipment I was working with on this project. Unfortunately, I had not
considered the possibility that I may have issues with OneDrive itself and therefore, I ended up
losing a portion of work irregardless of my consideration for not saving work directly to the
computer. With the benefit of hindsight, I will take much better care of my work and make sure to
save multiple copies of high value components of my projects such as my main photoshop works or
videogame animations in the case of this project.

45. VG Planning
Overall, I would consider this one of the strongest aspects of my entire project. From the
consideration into the deeper logistics of how the game would play as a whole, if I had actually
made the entire thing, to the consideration behind each character's design and the greater
narrative, I feel this was the most fleshed out aspect and I am content with how each aspect of my
game was planned out to be in the end. The thought process of going from the style of side-scrollers
such as Super Mario to more open world 2D efforts such as Escapists or Stardew Valley was
something that had one of the largest impacts on my piece as a whole, as it made me consider how
much I could push the parameters of a simple pre-existent formula. Games such as Little Big Planet
were games I had considered to push this formula the best in the past, giving the player a massive
amount of explorability while remaining fundamentally 2D. This was overall very beneficial to me
producing my final product, as it allowed me to consider what the character may be capable of in an
endgame territory versus at the beginning, using a progression style similar to that of God of War or
games of the sort.

46. P Time Management
I would say I overall managed my time well enough for this portion of the project. I undoubtedly fell
behind at the point of losing some of the work but managed to recover from that and produce
something that was up to standard, if not my most proud collection of work due to certain parts of
it being rushed to make up for lost time. I was much happier with how my final products turned out
before losing them however which makes me upset at what ended up taking their places but
considering the ratio of time put into refining each variant of the poster, I was content enough with
my final works and still considered them to have been of passably professional quality.

47. VG Time Management
In terms of videogame time management, I'd say essentially the same of this that I did of the
portion before. However, since I did not lose much work related to this portion of the topic in
comparison to what was lost of the Photoshop work, I was definitely much happier with the final
product and felt it reflected the best I was capable of doing with the time at my disposal. I'd say the
product is directly reflective of how I would wish to have my videogame presented were it to be a
full length production but as there is always room for improvement, I would say that if I were to go
back and do the project again, I'd have set aside some time to design multiple different areas for my
character to walk through in this animation as to show off the change in environments aspect of the
game that I wished to be an important factor but may not have properly represented in my final
works.

48. P Technical Qualities
In terms of my final product in Photoshop, I will speak on behalf of what I completed before and then on behalf of the work I
have evidence of in the final moments of this project.
I was very happy with how my work had turned out by the time it came round to completion. I had resolved most of the
issues I had with the realism of the blend between the background world and the character by having the character be in
much greater focus than the background and adjusting colour ratios to ensure that the character and the background were
consistent in lighting. I was also happy with the general aesthetic qualities of the poster. I had mixed red with green in this to
create a colour scheme that is complimentary by the rules of colour mixing in art, as well as visually striking and I had edited
the character and background to appear in black and white except for specific aspects of the image, such as the character's
eyes which appeared red, the character's lips and the chinese lanterns in the background to name a few. In this version, I had
kept the background outside of the parameters of the document while working on it the whole way through which meant I
could have the edges be the original colour etc of the image before editing, which adds a nice natural border to the piece.
The character was treated with a variation of different level adjustments to make it appear most natural, mainly darkening
them and adding depth to their shadows with higher contrast levels. The text I used was edited many times across the space
of my design process to be green, red, a mix of both, transparent or solid and embossed, shadowed or glowing and more and
more. The font was also changed many times but I settled for something which seemed to fit with the mysticism as well as
the childlike ineptitude of the writing style.
All of this was reflected in my second piece, which is the one I ended up having to use. The major difference is that it was all
done to a much lower quality than what I initially completed, seeming less realistic and refined. I do hope, however, that
given the time restraints it still represents the techniques that I was implementing well enough and suggests what a better
piece could have been, had I not mistakenly lost my original draft.

49. VG Technical Qualities
In terms of my animation, I was happy with how smooth the walking turned out and how well timed with the background it was to give the
illusion that the character was moving. I would describe the fluidity of the character’s movements to be similar to that of Night in the Woods if
not missing a few frames over that game to reach its truest level of fluidity. To achieve this level of detail, I loosely based my character’s leg
positions on 8 set frames of pre-existent templates. With the art style and pixel density of this template being different, however, I had to
essentially rejig the entire structure from scratch which led to the character’s movements becoming even more stylised and obscure, though I
believe this contribution to have been a positive one in the end.
I constructed the character model from a pre-existent front-facing model I had done as concept art, rotating parts of the body or shrinking
others in order to give a different perspective. This secondary model then had the legs removed and re-implemented as separate layers to
allow them to be moved in each frame without it altering the base character model. I also later created a separate layer for the arm which lifts
and used that same arm layer to display the sword and all the armour later in the clip.
I also implemented a background and a selection of bars which acted as the character’s HUD. The background was created as one long
landscape art piece in a separate document and then added in and shifted along an equal interval every time the character was moving along a
frame. I had little troubles with properly aligning this as it just seemed to work first time. I did have the idea of starting the clip where it ended
to make it loop but scrapped it when I realised the armour, weapons and enemy would abruptly disappear lest I double the current runtime of
the animation making it return somehow. This is something I would have looked further into with more time.
The same point goes for the sound design. I would’ve liked to have implemented some foley. Some crystalised crackling sounds for the
armour’s formation or an unsheathing sound for the sound; A grunt for the Ghost or some subtle footsteps wouldn’t have gone a miss either
but as far as what I did do, I created some basic music using beepbox in the key of C Major. This music was formulated with 4 layers, Bass,
Drums, and two synths. I designed this music to sound similar to that of old side-scrolling arcade games in the way that it was repetitive but
complex enough to not frustrate the player at all. Another improvement I could’ve made would have been to have known the length of my
final video edit before making the music, in order for my music to not abruptly end or seem juxtaposed against what the player is seeing.

50. P Aesthetic Qualities
In terms of aesthetics, I was happy with the feeling that my poster was giving off in the end. In my opinion, it
well represented the genre that I was going for, being dark or noir, while also being quite reminiscent of some
more recent superhero and sci-fi products, especially the products of DC. It's also quite evidently indie and
low-budget which is an aspect I think contributes more positively than negatively. You get an essence of
isolation with the background being such an expansive territory that is void of any people and the landscape
suggests celebration which contradicts the expressions of the character who is clearly in a state of fear and
readiness. I also think the lack of colour accentuates the colour that is there and makes it more meaningful;
The use of red suggests danger and fear but also power and the colourful borders suggest we are seeing this
character's story through a lens. The glowing hands represent the powers well I believe and the outfit being
discreet allows for a clean fade into the bottom of the poster that would have been used to place information
like the film Director etc in given more time. The hands also turned out quite noticeably off in this variant of
the poster, in the way that they stick out in brightness and contrast. However, I believe this to be a positive
contribution as it just adds to the surrealism of the poster and suggests how perhaps this character may be
dreaming up or remembering back to the events of this game, instead of them necessarily having taken place
as seen by the audience, leaving area for flaws in memory or dreamscapes to take place.

51. VG Aesthetic Qualities
In terms of aesthetics, I would say I’m very happy with how my game world looks out of all else. I think I
captured the atmosphere I was going for. My characters and background matched the green and purple colour
scheme and the buildings all contributed to the feeling of uniformity and seclusion in the town. Buildings being
similar yet possessing very vague differences in colour and size allowed for the town to mimic those suburban
affluent American neighbourhoods which often possess a feeling of innate security that would be challenged
greater by the presence of the enemies.
The character moves in a way that is quite clumsy and loose, similar to the energy of how a child or younger
person would move. This, coupled with their gasping at the sight of a Ghost, suggests the sense of naivety that
is pivotal to the character’s fears and actions as a result.

52. VG Aural Qualities
When discussing my videogame's aural qualities, the only real aspect to point to is the use of music. I was
happy with how the music turned out and the pacing of it. It reminded me of something out of an arcade game
with low storage capacity that relied on a simple recurring melody to fill the silence. I thought the melody itself
was fun enough and reflected the silliness of the piece.
If I were to try and improve upon it in future or go about it differently, I would have had the music be more
reflective of each moment in the short narrative of the animation. In essence, when the Ghost comes along, I
would've had more sinister or fearful music play or something at least reflective of the fact that there has been
a change in circumstances. I would also add more diegetic sounds in, including but not limited to an
unsheathing sound for the sword, a glowing hue sound for the armour, a building sound like metal clanking for
the armour building and a floating or howling sound effect for the ghost as well as the obvious such as
footsteps and more. This could have been done through foley to create something that feels like a more well-
rounded product when it's considered as a whole.

53. Audience Appeal
In terms of Audience Appeal, I believe both my end products appealed to their target market well. When I was
creating these products, I was considering a very wide range of different ages and certainly no specific gender.
My target age if I had to choose would have been younger adults however, around 16-24. This is on account of
the fact that the sci-fi genre is a more modern genre that wasn't so widespread in terms of adoption back 30-
40 years ago. This is an age range I know would be capable of enjoying this product with a huge back catalogue
of sci-fi pragmatic knowledge to draw comparisons from.
In terms of appealing to that market, I would say my work comes across light-hearted enough on the
videogame end of things and brooding enough on the poster side of things to cover the serious nature many
people have come to expect from these products as they delve into more and more obscure products without
the fear of judgement, while also having enough self-awareness to still pick at their own obscurities and play
off the audience's emotions at times when these products might seem too self-indulgent to be enjoyed. I
believe viewers would find the quick pace and quaint nature of the videogame enjoyable, as is evidenced by
games such as Undertale, Terraria and Stardew Valley which saw booming success recently with similar art
styles. I also think the poster would appeal to enjoyers of Sci-Fi movies as it promotes something different and
unique in its colour and emotion that immediately portrays a fresh perspective on an oversaturated market,
when compared against the fairly samey catalogue that the giants like Marvel and DC are producing at current.

54. Overall strengths and weaknesses of the final
package.
Overall, I would consider the greatest strength of the poster to be its simplicity and the level of emotion behind
the lack of colour with the exception of red that gives all the meaning that the audience would need to
understand this movie before seeing it. I also think a strength of the piece is the model themself and their
emotional impact on the poster that is brought out by the poster's focus on them primarily. I'd say the largest
weakness of the poster is its incomplete, slightly rough technical nature and the fact that the character is
blatantly not in the location they are attempting to be represented in. With more time I would've hoped to
polish this aspect of the poster off but without that, I am content with how it turned out.
In terms of the videogame, I would consider its greatest strength to be the fluidity of the animation itself and
the detail of the backdrop. I was incredibly happy with how the walking turned out and subsequentially the
building of the armour as it flows very well and is practically seamless. I also think the background moves at a
pace that is very appropriate for the character's speed and the character has a fashion of walking that is
unconventional enough to give them more personality. If I were to improve anything, like mentioned before, I
would improve the variety of the piece or the length of it if necessary to better represent different locations
with contrasting colours or perhaps show off what one could come to expect from the combat or one of the
final bosses but otherwise, I am very happy with how it ended up being and believe it to be well constructed
with the time given.