3. production experiments
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The document describes experiments the author conducted for a game involving a hero, necromancer villain, graveyard setting, and ghost/skeleton minions. The author refined the character designs and added a selection screen. For the final product, the author intends to use the character designs, particularly the villain design, and aspects learned from the quick ghost game prototype.
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4. production experiments
1) The artist created variations of a cowboy pixel art asset by adjusting thickness, opacity, and scaling to experiment with different levels of detail. While too detailed to use for the entire game, the wild west theme and color scheme could work.
2) A walk cycle animation was created by copying and editing frames to show movement. This helped determine that characters should be shorter from a top-down view and backgrounds plain for visibility.
3) Separating a tank's turret and body to animate firing provided lessons on camera angles, animation, and adding recoil for realism. While the theme is different, explosions and gunfire effects could be used. Elements from the experiments informed decisions around art style, perspective,
3. interactive production experiments 1(1)
This document contains three experiments by Oliver Frost related to developing a ghost catching game:
1. A concept for a ghost catching game where the player uses a ray gun to collect ghosts in an abandoned house. Basic shapes and colors were used to create the environment.
2. Character design experiments for an otter character in different poses. The simpler design on the far right is preferred.
3. A concept stage level design with and without background. Basic shapes were used to create a rock border and water pool. Reference photos were used but original backgrounds will be created for the final product.
6. production (gaming)
The document describes the process of creating an animated character selection screen and subsequent gameplay scenes for a birds-eye-view game. The creator used the pencil tool to design character faces and options, animate character movement, and create backgrounds of increasing scale and danger that scroll to simulate character movement. Inspiration was drawn from games like Pokemon and Zelda to design pixelated trees and pavement. Each scene was animated by adjusting layers on the timeline to move character parts or scroll backgrounds.
Video Game Project - 1. production experiments
The student created experiments to help plan their final product for a pixel art video game. They started by creating a dark nighttime city theme background. Then they added simple buildings and a cat character to collect coins. For their final product, the student plans to keep the night city theme and possibly include the cat character. They also want to make a coin collecting game, which was tested in the experiments, as it will be simple to complete in the time given.
5. pre production(gaming)
The document discusses pre-production planning for a children's game, including color scheme, fonts, and layouts. Primary colors like red, blue, and yellow will be used in designs and to symbolize health, water, warmth, and danger. Fonts like Adobe Calson and Black Adder will be used for speech and signs to suit the fantasy setting. Two layouts are shown - an overhead view for exploration and a side view for battling. Software like Photoshop and Premier will be used to create and animate the game, along with gathering resources from the internet. A schedule is outlined to complete scenes and a poster over 8 days.
7. evaluation VG
The document provides an evaluation of a game created by Bailey Dyble. It summarizes the different aspects of planning, managing time, technical qualities, aural qualities, aesthetic qualities, and audience appeal. For research, Bailey looked at 4 successful games to implement elements and appeal to the target audience. Time management was adequate but more time could have allowed for more detailed graphics. Technical qualities included using delays and speeding up the character. The sound effects and music could have been improved. The simple character graphics were limited by artistic ability. The game follows successful industry models but lacks graphical complexity.
7. evaluation VG
The document provides an evaluation of a game created by Bailey Dyble. It summarizes the different aspects of planning, managing time, technical qualities, aural qualities, aesthetic qualities, and audience appeal. For research, Bailey looked at 4 successful games to implement elements and appeal to the target audience. Time management was adequate but more time could have allowed for more detailed graphics. Technical qualities included using delays and speeding up the character. The sound effects and music could have been improved. The simple character graphics were limited by artistic ability. The game follows successful industry models but lacks graphical complexity.
7. evaluation
Jack Roberts evaluated his endless runner game project. He felt his research helped inform his game design but he could have researched more pixel games. While he planned his game well, some additional animation tests may have improved the final product. Better time management was needed as planning and research took longer than expected. Overall, the game's technical qualities were good but audio and aesthetics could be improved, such as adding more detailed backgrounds and enemy sounds. The sci-fi and gun themes along with the male protagonist were meant to appeal to a male audience.
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4. production experiments
1) The artist created variations of a cowboy pixel art asset by adjusting thickness, opacity, and scaling to experiment with different levels of detail. While too detailed to use for the entire game, the wild west theme and color scheme could work.
2) A walk cycle animation was created by copying and editing frames to show movement. This helped determine that characters should be shorter from a top-down view and backgrounds plain for visibility.
3) Separating a tank's turret and body to animate firing provided lessons on camera angles, animation, and adding recoil for realism. While the theme is different, explosions and gunfire effects could be used. Elements from the experiments informed decisions around art style, perspective,
3. interactive production experiments 1(1)
This document contains three experiments by Oliver Frost related to developing a ghost catching game:
1. A concept for a ghost catching game where the player uses a ray gun to collect ghosts in an abandoned house. Basic shapes and colors were used to create the environment.
2. Character design experiments for an otter character in different poses. The simpler design on the far right is preferred.
3. A concept stage level design with and without background. Basic shapes were used to create a rock border and water pool. Reference photos were used but original backgrounds will be created for the final product.
6. production (gaming)
The document describes the process of creating an animated character selection screen and subsequent gameplay scenes for a birds-eye-view game. The creator used the pencil tool to design character faces and options, animate character movement, and create backgrounds of increasing scale and danger that scroll to simulate character movement. Inspiration was drawn from games like Pokemon and Zelda to design pixelated trees and pavement. Each scene was animated by adjusting layers on the timeline to move character parts or scroll backgrounds.
Video Game Project - 1. production experiments
The student created experiments to help plan their final product for a pixel art video game. They started by creating a dark nighttime city theme background. Then they added simple buildings and a cat character to collect coins. For their final product, the student plans to keep the night city theme and possibly include the cat character. They also want to make a coin collecting game, which was tested in the experiments, as it will be simple to complete in the time given.
5. pre production(gaming)
The document discusses pre-production planning for a children's game, including color scheme, fonts, and layouts. Primary colors like red, blue, and yellow will be used in designs and to symbolize health, water, warmth, and danger. Fonts like Adobe Calson and Black Adder will be used for speech and signs to suit the fantasy setting. Two layouts are shown - an overhead view for exploration and a side view for battling. Software like Photoshop and Premier will be used to create and animate the game, along with gathering resources from the internet. A schedule is outlined to complete scenes and a poster over 8 days.
7. evaluation VG
The document provides an evaluation of a game created by Bailey Dyble. It summarizes the different aspects of planning, managing time, technical qualities, aural qualities, aesthetic qualities, and audience appeal. For research, Bailey looked at 4 successful games to implement elements and appeal to the target audience. Time management was adequate but more time could have allowed for more detailed graphics. Technical qualities included using delays and speeding up the character. The sound effects and music could have been improved. The simple character graphics were limited by artistic ability. The game follows successful industry models but lacks graphical complexity.
7. evaluation VG
The document provides an evaluation of a game created by Bailey Dyble. It summarizes the different aspects of planning, managing time, technical qualities, aural qualities, aesthetic qualities, and audience appeal. For research, Bailey looked at 4 successful games to implement elements and appeal to the target audience. Time management was adequate but more time could have allowed for more detailed graphics. Technical qualities included using delays and speeding up the character. The sound effects and music could have been improved. The simple character graphics were limited by artistic ability. The game follows successful industry models but lacks graphical complexity.
7. evaluation
Jack Roberts evaluated his endless runner game project. He felt his research helped inform his game design but he could have researched more pixel games. While he planned his game well, some additional animation tests may have improved the final product. Better time management was needed as planning and research took longer than expected. Overall, the game's technical qualities were good but audio and aesthetics could be improved, such as adding more detailed backgrounds and enemy sounds. The sci-fi and gun themes along with the male protagonist were meant to appeal to a male audience.
4. proposal(gaming)
The document proposes a fantasy role-playing game called "King's Empire" set in a medieval world dictated by an evil empire. The game's purpose is to be immersive, fun, and competitive through an intriguing story and exciting gameplay shown in a trailer. It will have character customization and involve defeating evil kings in each kingdom to battle the main antagonist, King of Kings. The target audience is ages 10-20 of all genders and races, attracting emulator players through difficult gameplay. Inspiration comes from Nintendo games like Zelda and Pokรฉmon.
7. evaluation
This document provides a summary and evaluation of an animation project. It discusses the strengths and weaknesses of the production process, planning, time management, technical and aesthetic qualities, audience appeal, and peer feedback. For research, the creator knew what they wanted to do but was new to making animations. Planning was helpful but new ideas could slow progress. Time management was good but more time would allow more details. Peer feedback noted the dragon's animation but felt the battle could be longer. The creator agrees more time on key parts is needed and would address the slow start speed.
Research
The document discusses various sources of inspiration for a level being created for the game Star Citizen. It describes Star Citizen as having a futuristic art style well-suited for the level. It also discusses how the films Aliens and Event Horizon provide examples of abandoned, dark environments that could be recreated in the level. Finally, it mentions taking lighting and console inspiration from Alien: Isolation to help make the spaceship setting feel abandoned.
4. production experiments 1
Toni Gibson created two experimental games to practice skills for an upcoming game. The first focused on background design to understand what looks good. The second experimented with character movement and timelines in Photoshop to create a walking sequence. Neither experiment was fully successful due to time constraints, but Toni learned about background styles and walking animations to apply to the final game.
3. production experiments
The document describes experiments for a game called Ghost Game. It discusses adding a viewing hole for the player, including a desk and wallpaper background, and creating the main character. For the final product, the document reflects that the character design could be refined and there will be a similar framing effect as in the experiments.
6. production reflection
The document describes the process of creating a video game. It discusses using varied colors and two backgrounds to make the game more eye-catching. Character and pixel obstacles from different games were used. Coins were given more detail than plain yellow circles. Frames and layers were used, with 100 frames for both timelines to make the game long. Hearts replaced a life bar and coins counted coins collected. Finally, sound effects were added to play for coin collection or avoiding obstacles.
1. production experiments
The document describes experiments from three different students. The first student experimented with animating a pistol and bullet using layers and tweening. The second student experimented with pixel art and border designs. The third student created a text-based RPG with animated character movement and scrolling text. All three students reflected on including elements of their experiments, such as animation style and design aspects, in their final products.
3. production experiments
The document describes Josh Palmer's process for creating pixel art elements for a game. It details how he created a stick man character, a ghost, a reaper's weapon, a golf club, and a game platform with grass and gravestones using various drawing tools. In his reflection, Josh plans to improve the visuals of these elements and incorporate them into a final Ghost Game product where the goal is either to free ghosts by getting a ball in holes or have the ghost be an enemy to unlock at higher levels.
7. production reflection
The document describes the process of creating pixel art characters, weapons, backgrounds and animations for a game. Over several days, the artist created character concepts and walk animations in Photoshop using the pencil tool. Weapons were also designed in pixel art style. Background development included a forest setting with a house for player interaction. Interior details and a non-player character were added to the house. Upcoming work involves animating battle scenes between the player and enemies.
1 190208095836
The document describes two experiments conducted by Jack Roberts. The first experiment involved creating an animation by drawing a character and bath on separate layers to allow parts like the eyes to be animated. The second experiment involved breaking a completed puzzle into individual pieces that could be moved around as part of a puzzle game. For the final projects, Roberts plans to use multiple layers to animate different character parts and add a timer to the puzzle game to create a scoring element.
6. production reflection (interactive)
Sam Massie created simple character and enemy designs without tracing for a Halloween-themed platform game set in a forest. Enemies will have different abilities like firing fireballs or using stealth and webs. The player must collect 3 coins to fill a jar to progress to the next level. A health bar and level display were designed with red text and hearts on a black background to stand out. The designs will be used for backgrounds, characters, enemies, and a coin collection mechanic in the game.
5.pre production
The document outlines Joshua Blakeley's pre-production plans for a pixel art game. It discusses using a pixel text style to match the game's style. It presents a color scheme using dark browns, blues, and reds for mountains and areas. Two layout designs are shown, one with a title and art and one with a user interface. No props or locations are needed beyond Photoshop. Contingency plans address potential issues like software crashes, injuries from long periods of sitting, and illness. The schedule plans the creation of designs, menus, gameplay areas, animations, and final corrections over 8 days using Photoshop.
Days before the end
The game allows players to create their own unique characters and scavenge randomly generated locations like houses, factories, and shops in a zombie apocalypse setting. Players can barricade buildings to create safe areas. The game will feature gore, violence from bandits killing survivors, and zombies to set a horror atmosphere and is rated for mature audiences. The developer found creating the game, with its character customization and randomly generated world, to be a challenging but worthwhile experience.
7. evaluation (interactive)
This document contains Sam Massie's reflections on creating an interactive game evaluation. It summarizes the strengths and weaknesses of Sam's research, planning, time management, and the technical and aesthetic qualities of the completed product. Peer feedback praised the game's colors and sounds but suggested adding more levels and improving the background. Sam agrees background music volume should be lowered and more levels added to make the game more interesting. Overall, the document evaluates Sam's process for and reception of an interactive game project.
6. visual reflection
The document describes the process of creating a poster for a video game magazine. The creator selected two main characters from a game to feature prominently on the page. Additional coverlines and plugs were added featuring four other games. Text effects were used to make certain elements like subtitles and titles stand out. An "Exclusive poster" plug was added to the bottom right of the page to catch viewers' attention. The main title of the magazine was created online and customized to have impact.
Game design cv
Kieran Stocks is applying for a game design position. He has extensive experience playing many genres of games, from mainstream FPS and RPGs to more niche genres. As an animator and artist, he can create walk/run cycles and other animations, as well as backgrounds and character designs. He is also able to write a compelling story to accompany a game.
3. production experiments(2)
The document describes an experiment creating a ghost fighting game. The creator first drew ghosts and "ghost busters" characters with different weapons. They then designed an abandoned mansion background using selection and drawing tools. Details like brick and wood textures were added. For the final product, the creator will include character designs, scary enemy designs, and unique backgrounds that were experimented with. The brief mentioned making a ghost game, so the creator was inspired by Ghostbusters to have characters that fight and capture ghosts.
Guess what
This document contains pictures that can be used to play a guessing game called "Guess what?" with coworkers where they describe and compare the pictures to figure out what place is being depicted, drawing on knowledge gained from this blog.
6. production reflection
Jack Lowes created the main playable character and level for their game. They designed the character as a knight and focused on getting the proportions correct. They also created a magical spear. For the level, they used greys, reds, and browns to texture a castle. They added brickwork and plan to improve the shading and textures. In later updates, they added enemies and improved level design with more shading. For animation, they created a walking cycle but realized they lacked special effects. Sound effects were also not a perfect fit when added to the animation in Premiere.
Video Game Production Experiments PP
Kai Todd created basic animations to experiment with different techniques for their final project. In the first animation, sprites were positioned and tweens were used to smooth movement as the main character completed objectives. Feedback noted moving background elements added interest but objects need consistent movement. The second animation included a death shrinking animation and game over screen created by coloring the screen black and writing letters frame by frame. Kai plans to further develop the death animation and experiment with different game over screens for the final project.
6. production reflection
The document describes the process of creating an animated fighting game. The key steps were:
1) Designing the characters by using Gorillaz characters as a template.
2) Creating a simple arena using the pencil and paint bucket tools due to time constraints.
3) Adding a character health bar at the top and character portraits made from circles.
4) Placing a timer in the top center like other similar games, made with circles and text.
5) Animating the game using multiple layers on the timeline, moving elements slightly each frame.
3. production experiments
The document describes the process of creating a ghost game. First, the creator gave the game a grey background and created ledges for the ghost to jump on, some of which were faulty. A red square was made as a safe zone. Then, the ghost was drawn and its animation was set up to move between ledges. For the final product, the creator plans to include using Photoshop again with a character and background and props, as the game involves adventure and risk as the ghost must navigate between ledges to reach safety.
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4. proposal(gaming)
The document proposes a fantasy role-playing game called "King's Empire" set in a medieval world dictated by an evil empire. The game's purpose is to be immersive, fun, and competitive through an intriguing story and exciting gameplay shown in a trailer. It will have character customization and involve defeating evil kings in each kingdom to battle the main antagonist, King of Kings. The target audience is ages 10-20 of all genders and races, attracting emulator players through difficult gameplay. Inspiration comes from Nintendo games like Zelda and Pokรฉmon.
7. evaluation
This document provides a summary and evaluation of an animation project. It discusses the strengths and weaknesses of the production process, planning, time management, technical and aesthetic qualities, audience appeal, and peer feedback. For research, the creator knew what they wanted to do but was new to making animations. Planning was helpful but new ideas could slow progress. Time management was good but more time would allow more details. Peer feedback noted the dragon's animation but felt the battle could be longer. The creator agrees more time on key parts is needed and would address the slow start speed.
Research
The document discusses various sources of inspiration for a level being created for the game Star Citizen. It describes Star Citizen as having a futuristic art style well-suited for the level. It also discusses how the films Aliens and Event Horizon provide examples of abandoned, dark environments that could be recreated in the level. Finally, it mentions taking lighting and console inspiration from Alien: Isolation to help make the spaceship setting feel abandoned.
4. production experiments 1
Toni Gibson created two experimental games to practice skills for an upcoming game. The first focused on background design to understand what looks good. The second experimented with character movement and timelines in Photoshop to create a walking sequence. Neither experiment was fully successful due to time constraints, but Toni learned about background styles and walking animations to apply to the final game.
3. production experiments
The document describes experiments for a game called Ghost Game. It discusses adding a viewing hole for the player, including a desk and wallpaper background, and creating the main character. For the final product, the document reflects that the character design could be refined and there will be a similar framing effect as in the experiments.
6. production reflection
The document describes the process of creating a video game. It discusses using varied colors and two backgrounds to make the game more eye-catching. Character and pixel obstacles from different games were used. Coins were given more detail than plain yellow circles. Frames and layers were used, with 100 frames for both timelines to make the game long. Hearts replaced a life bar and coins counted coins collected. Finally, sound effects were added to play for coin collection or avoiding obstacles.
1. production experiments
The document describes experiments from three different students. The first student experimented with animating a pistol and bullet using layers and tweening. The second student experimented with pixel art and border designs. The third student created a text-based RPG with animated character movement and scrolling text. All three students reflected on including elements of their experiments, such as animation style and design aspects, in their final products.
3. production experiments
The document describes Josh Palmer's process for creating pixel art elements for a game. It details how he created a stick man character, a ghost, a reaper's weapon, a golf club, and a game platform with grass and gravestones using various drawing tools. In his reflection, Josh plans to improve the visuals of these elements and incorporate them into a final Ghost Game product where the goal is either to free ghosts by getting a ball in holes or have the ghost be an enemy to unlock at higher levels.
7. production reflection
The document describes the process of creating pixel art characters, weapons, backgrounds and animations for a game. Over several days, the artist created character concepts and walk animations in Photoshop using the pencil tool. Weapons were also designed in pixel art style. Background development included a forest setting with a house for player interaction. Interior details and a non-player character were added to the house. Upcoming work involves animating battle scenes between the player and enemies.
1 190208095836
The document describes two experiments conducted by Jack Roberts. The first experiment involved creating an animation by drawing a character and bath on separate layers to allow parts like the eyes to be animated. The second experiment involved breaking a completed puzzle into individual pieces that could be moved around as part of a puzzle game. For the final projects, Roberts plans to use multiple layers to animate different character parts and add a timer to the puzzle game to create a scoring element.
6. production reflection (interactive)
Sam Massie created simple character and enemy designs without tracing for a Halloween-themed platform game set in a forest. Enemies will have different abilities like firing fireballs or using stealth and webs. The player must collect 3 coins to fill a jar to progress to the next level. A health bar and level display were designed with red text and hearts on a black background to stand out. The designs will be used for backgrounds, characters, enemies, and a coin collection mechanic in the game.
5.pre production
The document outlines Joshua Blakeley's pre-production plans for a pixel art game. It discusses using a pixel text style to match the game's style. It presents a color scheme using dark browns, blues, and reds for mountains and areas. Two layout designs are shown, one with a title and art and one with a user interface. No props or locations are needed beyond Photoshop. Contingency plans address potential issues like software crashes, injuries from long periods of sitting, and illness. The schedule plans the creation of designs, menus, gameplay areas, animations, and final corrections over 8 days using Photoshop.
Days before the end
The game allows players to create their own unique characters and scavenge randomly generated locations like houses, factories, and shops in a zombie apocalypse setting. Players can barricade buildings to create safe areas. The game will feature gore, violence from bandits killing survivors, and zombies to set a horror atmosphere and is rated for mature audiences. The developer found creating the game, with its character customization and randomly generated world, to be a challenging but worthwhile experience.
7. evaluation (interactive)
This document contains Sam Massie's reflections on creating an interactive game evaluation. It summarizes the strengths and weaknesses of Sam's research, planning, time management, and the technical and aesthetic qualities of the completed product. Peer feedback praised the game's colors and sounds but suggested adding more levels and improving the background. Sam agrees background music volume should be lowered and more levels added to make the game more interesting. Overall, the document evaluates Sam's process for and reception of an interactive game project.
6. visual reflection
The document describes the process of creating a poster for a video game magazine. The creator selected two main characters from a game to feature prominently on the page. Additional coverlines and plugs were added featuring four other games. Text effects were used to make certain elements like subtitles and titles stand out. An "Exclusive poster" plug was added to the bottom right of the page to catch viewers' attention. The main title of the magazine was created online and customized to have impact.
Game design cv
Kieran Stocks is applying for a game design position. He has extensive experience playing many genres of games, from mainstream FPS and RPGs to more niche genres. As an animator and artist, he can create walk/run cycles and other animations, as well as backgrounds and character designs. He is also able to write a compelling story to accompany a game.
3. production experiments(2)
The document describes an experiment creating a ghost fighting game. The creator first drew ghosts and "ghost busters" characters with different weapons. They then designed an abandoned mansion background using selection and drawing tools. Details like brick and wood textures were added. For the final product, the creator will include character designs, scary enemy designs, and unique backgrounds that were experimented with. The brief mentioned making a ghost game, so the creator was inspired by Ghostbusters to have characters that fight and capture ghosts.
Guess what
This document contains pictures that can be used to play a guessing game called "Guess what?" with coworkers where they describe and compare the pictures to figure out what place is being depicted, drawing on knowledge gained from this blog.
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Similar to 3. production experiments
6. production reflection
Jack Lowes created the main playable character and level for their game. They designed the character as a knight and focused on getting the proportions correct. They also created a magical spear. For the level, they used greys, reds, and browns to texture a castle. They added brickwork and plan to improve the shading and textures. In later updates, they added enemies and improved level design with more shading. For animation, they created a walking cycle but realized they lacked special effects. Sound effects were also not a perfect fit when added to the animation in Premiere.
Video Game Production Experiments PP
Kai Todd created basic animations to experiment with different techniques for their final project. In the first animation, sprites were positioned and tweens were used to smooth movement as the main character completed objectives. Feedback noted moving background elements added interest but objects need consistent movement. The second animation included a death shrinking animation and game over screen created by coloring the screen black and writing letters frame by frame. Kai plans to further develop the death animation and experiment with different game over screens for the final project.
6. production reflection
The document describes the process of creating an animated fighting game. The key steps were:
1) Designing the characters by using Gorillaz characters as a template.
2) Creating a simple arena using the pencil and paint bucket tools due to time constraints.
3) Adding a character health bar at the top and character portraits made from circles.
4) Placing a timer in the top center like other similar games, made with circles and text.
5) Animating the game using multiple layers on the timeline, moving elements slightly each frame.
3. production experiments
The document describes the process of creating a ghost game. First, the creator gave the game a grey background and created ledges for the ghost to jump on, some of which were faulty. A red square was made as a safe zone. Then, the ghost was drawn and its animation was set up to move between ledges. For the final product, the creator plans to include using Photoshop again with a character and background and props, as the game involves adventure and risk as the ghost must navigate between ledges to reach safety.
Production Experiments.pptx
Megan Bannister conducted two experiments for a game design project. Experiment 1 involved creating pixel art characters of different sizes to populate the game world. She found that more detailed 64x64 pixel characters were better than the simpler 32x32 pixel ones. Experiment 2 was creating a running animation cycle to practice character animation. Megan animated both stick figure and full character versions and reflected that including basic walk cycles in the final game could add atmosphere versus more energetic running. Both experiments provided lessons on character and environment design that Megan plans to apply to the final project.
3. production experiments(2)
1) The document describes experiments creating a ghost game using Photoshop, including filling the background with dark and light grey colors to create a tunnel, animating the ghost character moving through the tunnel using stop motion techniques, and exporting the game as an MP4 file.
2) Reflection on the experiments indicates the final product will use a more detailed background design and include more interactivity, using the stop motion animation technique and developing a concept to match the brief of a ghost game.
3. production experiments(2)
The document summarizes experiments done to create an animated ghost game. It describes filling the background with dark and light grey colors to create a tunnel. It then explains how stop motion animation was used to move the ghost character from frame to frame through the tunnel. Finally, it discusses exporting the game as an mp4 file and plans for a more detailed background and additional gameplay elements in the final product to match the ghost game brief.
3. production experiments(gaming)
This animation is a pixelated side-scrolling ghost game set in a prison. The player character is a prisoner wearing a boiler suit to provide context without exposition. The dark prison setting creates a creepy and eerie atmosphere when viewed through the character's torch light. Horror elements like blood and darkness were included. The character is animated by duplicating layers to remain constant as the ghost disappears, creating mystery. Elements like the side-view setting and unique character designs may influence the final product, though it will not include scary or gory aspects since it is targeted toward children.
7. Production reflection
Cameron Whapples reflects on the production process of creating a zombie game. They drew the zombies to be the same size as the main character and made them explode upon being shot to reduce animation work. Whapples is pleased with how the layered jungle background turned out, hiding elements in the midground with foliage. An attempted hut did not fit the art style and was left out of the final product. Whapples is most pleased with the main character design which captures the theme of the game through a shaggy hairstyle and camouflage pants giving a crazed ex-military look.
6. production reflection
Jack Roberts created the background, characters, and animations for his pixel game over four days of production. On the first day, he selected color palettes and took inspiration from an existing pixel game to create the scrolling background. The second day was spent designing the characters by starting with stick figures and adding shading and details. Running cycles for the characters were animated on the third day by redrawing the legs in different positions. Finally, all elements were brought together into one document, animated, and sound effects were added to complete the game.
6. production reflection
The document describes the production process for a fighting game background and characters. The creator began by designing the background, including a wall, city skyline, and night sky elements. Health bars and character designs were then added. The first character, a boxer, was animated with punch and special attacks. A second character, a gangster, was also designed but not fully animated due to time constraints. The creator reflected on challenges animating detailed characters and wished to add more attacks given more development time.
6. production reflection
Joe Manship created character, dagger, and sword designs for a medieval bounty hunter video game character. For each design, he sketched ideas on paper, scanned them into his computer, and refined the designs digitally using tools to smooth edges, add color, and blend elements. He was pleased with how the designs matched the stealthy and medieval themes of the game. Joe also designed a website and blurb page to showcase his work, arranging the finished character, weapon, and game title designs to pitch his video game idea to potential customers.
3. production experiments (interactive)
The document describes experiments conducted for a ghost-themed pixel art game project. The experiments included: [1] Creating a pixel art ghost drawing to experiment with opacity and lighting effects; [2] Discovering that increasing the canvas size allows adding more detail; and [3] Quickly animating an enemy "Boo!" attack as an example of what may be included in the final project, if time allows. Reflection notes that the ghost drawing, character designs, and attacking animations will influence the final product, which will be a more detailed version of the mini-game described.
3. production experiments (interactive)
The document describes experiments conducted for a ghost-themed pixel art game project. The experiments included: [1] Creating a pixel art ghost drawing to experiment with opacity and lighting effects; [2] Discovering that increasing the canvas size allows adding more detail; and [3] Quickly animating an enemy "Boo!" attack as an example of what may be included in the final project, if time allows. Reflection notes that the ghost drawing, character designs, and attacking animations will influence the final product, which will be a more detailed version of the mini-game described.
3. production experiments(2)
The document describes the process of designing and animating a ghost-themed space invaders game. The designer first drew a ghost and ship with the pencil tool, duplicated the ghosts, and added bullets. They then animated the game in the timeline by moving the ghosts and ship left/right on each layer and moving the bullets in opposite directions to simulate movement over 11 layers with a 0.2 second time gap between each.
7. production reflection
April created a video game project focused on Minecraft. She researched game mechanics and analyzed aspects of Minecraft like the game world, characters, and interface. For her project, she created some pixel art experiments and planned ideas like a Candy Crush-style Minecraft game and a Minecraft dungeon. She practiced pixel art and designed a dungeon where the player fights a zombie boss. She finished her pixel art game, which has a title screen, characters, and sound effects she created. While pixel art was difficult for her, she was glad to complete the project and hopes to improve her skills.
3. production experiments
The document describes experiments for a spooky maze game called Ghost Game. In the first experiment, the creator made a maze over a spooky background image, added chests to collect loot from, and placed a boss at the end. In the second experiment, a character moves through the maze, opens chests to get randomized loot that appears in an inventory. For the final product, the creator plans to keep the maze structure, chests to collect loot from around the maze, and a ghost boss at the end to defeat.
3. production experiments(3)
Aaron Acaster conducted experiments for his video game project by creating a side scroller game with a ghost character. He encountered issues with animating the ghost's turning animation and with precision when creating the game world using pixels. As solutions, he created a second ghost sprite facing the opposite direction and learned to work more precisely with pixels. For his final product, he plans to include techniques like using additional characters facing different directions and the drawing, selection, and color tools used in the experiment.
Production Reflection
Alexander Sullivan-Cree created several assets for an app including a logo, app cover, and battle scene. To make the logo, he designed a white background and added a sunset image. For the app cover, he imported character images and added a title. The battle scene involved hand drawing a background and action bars inspired by Final Fantasy. Characters were placed and given battle options and names. Alexander attempted to animate the fight scene but ran out of computer space before finishing.
Production Reflection
Alexander Sullivan-Cree created several assets for an app including a logo, app cover, and battle scene. To make the logo, he designed a white background and added a sunset image. For the cover, he imported characters onto the background and added a title. The battle scene involved hand drawing a background inspired by Final Fantasy, adding character names and options, and frame animating a fight with unique animations for each option. However, the computer lacked space to fully finish the animation.
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7. fmp evaluation
Cameron evaluated their production process for an FMP magazine. Their research involved surveying designs for posters and logos to understand audience preferences. Planning focused on experimenting with font, image size, and layout. Production took the longest due to multiple design revisions. Peer feedback suggested adding more details to the cover to improve it and disagreed that the same color scheme should be used throughout. Cameron realized improvements could be made to the back cover advertisement design and image alignment.
6. fmp production reflection
The document describes the process the author went through to design a magazine cover and back cover. They began by adding images and text to the front cover, then refined it with more relevant images and swapped some text. They tried different fonts for the title. Later, they added a barcode, price, and date to make it look more authentic, and designed the back cover which included a separate advertisement with a character and release information. They refined small details on both pages and ensured the information was consistent.
6. fmp production reflection
The document describes the process the author went through to design a magazine cover and back cover. They began by adding images and text to the front cover, then refined it with more relevant images and swapped some text. They tried different fonts for the title. Later, they added a barcode, price, and date to make it look more authentic, and designed the back cover which included a separate advertisement with a character and release information. They refined details and corrected inconsistencies between the front and back covers.
7. fmp evaluation
Cameron evaluated their production process for an FMP magazine. Their research involved surveying designs for posters and logos to understand audience preferences. Planning examined fonts, image sizes and placements. Production took the longest due to multiple revisions. Peer feedback suggested adding more details to the cover to improve it, while disagreeing that the same color scheme should be used throughout. Cameron realized the back cover advertisement could be redesigned to fit more smoothly, like altering the title design.
6. fmp production reflection
The document describes the process the author went through to design a magazine cover and back cover. They began by adding images and text to the front cover, then refined it with more relevant images and swapped some text. They tried different fonts for the title. Later, they added a barcode, price, and date to make it look more authentic, and designed the back cover which included a separate advertisement with a character and release information. They refined details and corrected inconsistencies between the front and back covers.
5. fmp pre production
The document discusses the design of promotional materials for a fantasy film, including fonts, images, colors, layouts, and storyboards. Two initial layout designs are proposed: a single page with a large photo on one side and text on the other, and a design with more images and battle close-ups. Poster designs might include maps, landscapes, or battle collages. Props and locations needed include computers, magazines, and outdoor fields. Contingency plans address potential issues like data loss, software problems, and health concerns. A schedule outlines tasks for each day like taking photos, editing, adding text, and finalizing designs.
4. fmp proposal
This proposal outlines a print-based product called "The Insider" that will review and critique new film and media releases. It will consist of a front and back cover along with a double-page spread reviewing an upcoming release. Research on promotional materials like posters informed how images, colors, and fonts should be used based on the style and content. The target audience is 16-24 year old middle to upper class "belongers" who will find reviews of applicable entertainment. Legal and ethical considerations were that references and reviews alone should not be openly offensive, and younger audiences or social groups will not be restricted or offended by the content.
3. fmp production experiments 2
Cameron Bird conducted experiments to determine the best layout and design for a magazine page. They tested different image types and found that bright, expansive images worked best. They also rearranged the text into three columns per page, as is typical in most magazines. After testing different fonts, they selected three fonts to use for different sections of text. In their final product, they plan to incorporate quiet, mellow images alongside columns of text, with one full page image and text on the facing page.
2. fmp research
The document discusses research conducted on existing movie posters and trailers to identify common design elements, including a minimalist approach and focusing on villains or slogans over heroes. Questionnaires were used to understand the target audience, which is identified as teenagers and young adults who prefer comedic and realistic films over fantastical ones. Interviews provided insights into what draws people to magazines and what content would encourage customers to purchase one.
1. fmp initial plans 1
This document outlines Cameron Bird's initial plans for a class project, including ideas such as creating a movie poster, magazine articles, a teaser trailer, and shirt design. The poster and magazine ideas would showcase and promote an upcoming fictional film. A teaser trailer would depict vague plot moments without giving away important details. Reviews in a magazine could generate interest and attract different audiences. The shirt design would advertise the film while making a profit. Color schemes and character poses in mood boards influenced focusing on individual character posters. An informal proposal describes a print ad campaign including a magazine cover and article spread to promote the reviewed fictional movie to a middle-class, youth audience. Discounted ideas like a soundtrack or clothing brand were deemed too small-
1. initial plans
The document outlines initial plans made by Cameron Bird that involve creating a mind map. A mind map is a diagram used to visually organize information and represents ideas and concepts connected to a central theme or topic. The document suggests Cameron Bird intends to use a mind mapping technique to help organize and structure their initial plans.
7. evaluation
Cameron Bird evaluated the design of a front magazine cover. Through research, they noticed common layout elements like mastheads and article placements. Planning allowed them to focus on an optimal design. Time management was spent perfecting elements like a double-page spread. Peer feedback noted the effective use of color while suggesting improvements like catchier headlines or a colored background.
6. production reflection
Cameron Bird created a magazine mockup to practice layout and design techniques. He started with simple text boxes but changed the masthead to go across the top with space for a crown graphic. To advertise other articles he cropped backgrounds and left characters visible to avoid color clashes. For one article he used purple bars and coloring to highlight and box it in. On a double page spread he included a large article paired with an image to summarize the topic and catch readers' eyes. He used a white background for writing to make it stand out against darker images.
5. pre production
The document discusses pre-production plans for a game magazine, including potential fonts, color schemes, cover art concepts, props and locations needed, contingency planning, health and safety considerations, and a schedule. It lists fonts like Verdana, Viner Hand ITC, and Comic Sans that appeal to different game styles. The color scheme aims to seem elegant and professional using purple. Cover art concepts include implied violence and mystery or a brighter, family-friendly style. No props or locations are needed beyond computers and Photoshop. Contingency plans address potential issues like lost work or unfitting drafts. Health risks like paper cuts, eye strain, and headaches will be avoided through care and breaks. An 8-day schedule outlines
4. proposal
This proposal outlines a virtual magazine called "virtual mayhem" that will provide news, information, and content about video games to its target audience of middle to high class teenagers and adults with interests in gaming. The magazine will feature articles on current games, trends, and upcoming releases. Some content may feature violent themes or depictions that require an age rating. Notifications will be provided to avoid offending certain religious groups. The magazine's genre and format will be unique enough to avoid copyright issues compared to other existing gaming products.
3. production experiments
The document describes experiments with redesigning a magazine cover. The designer wanted to make the fish on the cover bigger and depict a look of panic rather than calmness. They also wanted to tease additional articles rather than just show the big catch. A red orb was included to be eye-catching and allow the information to apply to more than just fishers. The color palette uses mainly hot and cold core colors. In reflection, the designer notes they will include the red bubble feature and arrangement of titles, images, and headings in the final product.
2. research
The document provides an analysis of existing magazine products. It describes common features like highlighting text over images and utilizing colors. Aspects that will be included in the author's own work are highlighted text and a boxy column design. An audience profile outlines the target readers as 14-20 year olds of either gender from middle-to-high income families interested in game reviews and upcoming releases. The magazine content aims to appeal to this demographic.
1. initial plans
The document discusses initial plans for a project which include creating a mind map and mood board. An analysis of the mood board found repetition in colors, styles, and tones across collected images, with most having a central character. The mood board will influence the final product by replicating colors and positioning of images that appear consistent across references.
7. evaluation
The document provides an evaluation of Cameron Bird's production process for an FMP game project. It summarizes the research, planning, time management, technical qualities, aesthetic qualities, audience appeal, and peer feedback aspects of the project. For the research, Cameron looked at games like Castle Crashers and Scott Pilgrim vs the World to help decide on an action-comedy style. The planning period was useful for designing characters and world elements, though tasks were sometimes jumped around. Time management was inconsistent, with too much spent on minor details at times. Technically, animations and movement were attempted but proved difficult given pixel limitations. Aesthetically, more could be done to refine character designs. The game was designed to appeal
6. production reflection
The document describes Cameron Bird's process for creating characters for a game production. He first created a likable human hero and then contrasted it with an inhuman, manic villain. He also added additional layers including multiple locations and minions controlled by the villain that could appear as enemies. Finally, he created a background that would scale appropriately to the characters' heights and widths.
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3. production experiments
- 2. Process To begin with I created the main characters of the hero and the necromancer so that I had a theme to work around as a villains layer is usually personalised to them therefore I wonted to start with them and work backwards.
- 3. After creating a hero and a villain I knew what I wanted my scenery to be which was a grave yard and following that I could just simply create some minions that can fit in to the background ie ghosts and skeletons
- 4. After this I decided I liked the designs of the ghosts hero and protagonist and re interpreted them for the main game I also wanted to add another level by having a selection screen.
- 5. Reflection โข What elements of your experiments will you include in your final product? โข I would like to utilize the character design and the bad guy is a design that I like and would like to keep in my final product. โข Refer to the brief: Ghost Game โ In the ghost game I used very simple designs to create bad guys to try and finish it quickly but then decided that the more detailed characters looked exceedingly good and so I used some of they're assets in my game.
Editor's Notes
- Discuss the tools and processes used in your experiments