This document discusses pre-production details for a side-scrolling platformer video game. It outlines the story, which involves the main character suffering from mental illnesses that take monstrous forms throughout stages. It is being created for enjoyment and to layer visuals and story elements. The intended audience is males aged 16-19 from upper middle class who are socially conscious. If fully developed, the game would be released on computers, consoles and digital distribution platforms. Style sheets are presented exploring color palettes and designs for knights, woodland environments, and platforming gameplay. Elements like rickety bridges, interactive signs, enemies, ladders and vines are noted as potential hazards or mechanics.
The document provides a detailed analysis of the video game Dead Cells, focusing on its visual style, mechanics, story, and use of color. Key points include:
- Dead Cells is a 2D side-scrolling game where the player controls a character to explore levels and fight enemies to gain upgrades.
- It uses pixel art with a dark, gloomy color palette contrasted with vibrant colors for enemies and backgrounds. Lighting and shadows are used effectively.
- Mechanics include melee, ranged, and magic combat along with gravity and death mechanics. The story involves controlling a dead body.
- Color analysis notes the use of greens, blues, and reds to create mist and shading for mystery, and
The game Hyper Light Drifter was created by Heart Machine and funded through Patreon. It takes place in a post-apocalyptic world once inhabited by aliens. The player controls a character exploring the world to uncover its mysteries. Notable aspects included the light-based color palette, atmospheric lighting effects, puzzle and combat-based gameplay, and soundtrack that shifts from relaxed to tense. The game was appealing to fans due to its pixel art style and background story developed from community input.
This document discusses fonts, colors, and designs considered for use in pre-production of a game. It analyzes several poster designs for horror games, evaluating things like font choice, color palette, image style, and tone. The document aims to select design elements that will effectively convey the horror genre and be similar to the style of Borderlands while avoiding direct copyright.
Based on the audience research and analysis provided, here are some key points:
- The audience prefers original ideas over commonly used tropes and settings for horror games. They don't get easily scared by archetypes.
- A battle royale style of game would appeal more to the audience than an RTS, based on their preferences indicated.
- Some members of the audience are very passionate fans of certain game series and would purchase merchandise to show their fandom.
- The audience enjoys a variety of game genres beyond just horror, including platformers, battle royales, simulations and RTS games.
To best appeal to this audience, I would recommend:
- Developing an original setting and
Andrew Downes is developing plans for a video game set in York, England that tells the story of York's history through resource management and tower defense gameplay. He analyzed several existing games and art styles to inform his design. Key influences include Civilization 5 for its city-building mechanics, Assassin's Creed for its use of history, and Realm Grinder for its detailed pixel art style and evolving world. Downes aims to create detailed, realistic environments that change over time to match York's historical periods. He will focus on improving his art style, lighting, composition, and color usage. The target audience is primarily female players aged 16-24 interested in both history and gaming.
This document contains evaluations from a student of various digital graphic narrative development tasks they completed. For a clown fish image, the student liked the accurate colors but would improve the face details. They were pleased with the colors and shape of a penguin image but would adjust the body shape. The student captured photo detail well in a Dexter character but would smooth edges. Feedback on further assignments included improving backgrounds, textures, shapes and adding more details. Overall the student seemed pleased with learning experiences but identified aspects to refine in future iterations.
This document provides details on pre-production paperwork that may be included for a video game production, such as a risk assessment, sound effect list, music list, style sheet, contingency plan, scene plan, production schedule, and budget. It then discusses specific elements of pre-production in more detail, including a style sheet which outlines potential visual choices, and a storyboard to plan out scenes. Reflection sections discuss the type of game being made, the target audience, and potential platforms for release. A style sheet is also included outlining color schemes and elements for a lava-filled game area, as well as character designs and colors.
The document provides an evaluation of Harry's game development project. It summarizes the key aspects of Harry's research, planning, time management, technical qualities, aural qualities, and aesthetic qualities of the game. Some strengths identified include effective sound effects and animations. Weaknesses include issues with C-3PO's arm animation and limited use of color in the background. Overall the evaluation assessed both positives and areas for improvement in Harry's game design and development process.
The document provides a detailed analysis of the video game Dead Cells, focusing on its visual style, mechanics, story, and use of color. Key points include:
- Dead Cells is a 2D side-scrolling game where the player controls a character to explore levels and fight enemies to gain upgrades.
- It uses pixel art with a dark, gloomy color palette contrasted with vibrant colors for enemies and backgrounds. Lighting and shadows are used effectively.
- Mechanics include melee, ranged, and magic combat along with gravity and death mechanics. The story involves controlling a dead body.
- Color analysis notes the use of greens, blues, and reds to create mist and shading for mystery, and
The game Hyper Light Drifter was created by Heart Machine and funded through Patreon. It takes place in a post-apocalyptic world once inhabited by aliens. The player controls a character exploring the world to uncover its mysteries. Notable aspects included the light-based color palette, atmospheric lighting effects, puzzle and combat-based gameplay, and soundtrack that shifts from relaxed to tense. The game was appealing to fans due to its pixel art style and background story developed from community input.
This document discusses fonts, colors, and designs considered for use in pre-production of a game. It analyzes several poster designs for horror games, evaluating things like font choice, color palette, image style, and tone. The document aims to select design elements that will effectively convey the horror genre and be similar to the style of Borderlands while avoiding direct copyright.
Based on the audience research and analysis provided, here are some key points:
- The audience prefers original ideas over commonly used tropes and settings for horror games. They don't get easily scared by archetypes.
- A battle royale style of game would appeal more to the audience than an RTS, based on their preferences indicated.
- Some members of the audience are very passionate fans of certain game series and would purchase merchandise to show their fandom.
- The audience enjoys a variety of game genres beyond just horror, including platformers, battle royales, simulations and RTS games.
To best appeal to this audience, I would recommend:
- Developing an original setting and
Andrew Downes is developing plans for a video game set in York, England that tells the story of York's history through resource management and tower defense gameplay. He analyzed several existing games and art styles to inform his design. Key influences include Civilization 5 for its city-building mechanics, Assassin's Creed for its use of history, and Realm Grinder for its detailed pixel art style and evolving world. Downes aims to create detailed, realistic environments that change over time to match York's historical periods. He will focus on improving his art style, lighting, composition, and color usage. The target audience is primarily female players aged 16-24 interested in both history and gaming.
This document contains evaluations from a student of various digital graphic narrative development tasks they completed. For a clown fish image, the student liked the accurate colors but would improve the face details. They were pleased with the colors and shape of a penguin image but would adjust the body shape. The student captured photo detail well in a Dexter character but would smooth edges. Feedback on further assignments included improving backgrounds, textures, shapes and adding more details. Overall the student seemed pleased with learning experiences but identified aspects to refine in future iterations.
This document provides details on pre-production paperwork that may be included for a video game production, such as a risk assessment, sound effect list, music list, style sheet, contingency plan, scene plan, production schedule, and budget. It then discusses specific elements of pre-production in more detail, including a style sheet which outlines potential visual choices, and a storyboard to plan out scenes. Reflection sections discuss the type of game being made, the target audience, and potential platforms for release. A style sheet is also included outlining color schemes and elements for a lava-filled game area, as well as character designs and colors.
The document provides an evaluation of Harry's game development project. It summarizes the key aspects of Harry's research, planning, time management, technical qualities, aural qualities, and aesthetic qualities of the game. Some strengths identified include effective sound effects and animations. Weaknesses include issues with C-3PO's arm animation and limited use of color in the background. Overall the evaluation assessed both positives and areas for improvement in Harry's game design and development process.
This document provides an overview of pre-production planning for a horse-themed video game targeted at girls ages 16-19. It includes details on the intended audience, style guides for three levels and character design, proposed sound effects and music, contingency plans, and health and safety considerations. Reference images and color schemes are presented to inspire forest, cave and field backgrounds, as well as pixel character sprites and enemies. Screenshot layouts visualize the three levels. Sound effects will be created in BeepBox or sourced royalty-free, while background music also uses BeepBox. Regular saving, backups, and working from home are contingency plans if work is lost or the creator cannot access the classroom. Cables should be tidy
The document discusses research conducted on existing turn-based strategy games like XCOM and Total War: Warhammer 2 to understand features that appeal to target audiences. Interviews were also conducted with fans of the genre to learn about their preferences. Research findings will be applied to the development of the author's own turn-based strategy production to ensure it appeals to fans of the genre.
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.
Video Game #7 Evaluation Infinitely DoneJoeDuffy28
The document provides an evaluation of the author's research, planning, time management, technical qualities, aesthetic qualities, and audience appeal for their creative project. Some strengths identified include linking game design to themes, character designs, a detailed schedule, and battle animation. Weaknesses include a lack of specific examples in the research and simpler character movement. The author struggled with time management when character creation took longer than expected. They would have liked to include more details, a battle interface, and a full battle sequence given more time.
The document discusses initial ideas for illustrating a digital graphic narrative based on the story "The Elves and the Shoemaker". The student provides examples of character appearances that resemble the kind and pleasant shoemaker and wife as well as the childish and mischievous elves. They want to depict the locations and shoemaker's home accurately to the historical time period and the shoemaker's poor status. Of the font options presented, the student prefers the third font as it suits the child-friendly storytone.
This document contains evaluations from a student of various digital graphic narrative exercises they completed, including shaping an image, rotoscoping, working with text, creating a comic book page, photography, illustration, and initial ideas generation. For each exercise, the student provides what they liked about the image and what they would improve if doing it again. They note things like making shapes more detailed, adding more detail to rotoscoped images, experimenting more with text warping, increasing levels on a cutout tool, improving poses for emotions, and being more consistent with shading.
The document summarizes key aspects of several existing endless runner games that the author is researching for their own endless runner game. The games analyzed include Mr Jump, Subway Surfers, and Crossy Road. Common features identified across the games include a side-scrolling perspective, obstacles that move towards the character, collectable items, multiple levels or biomes, animated characters and effects, vibrant colors, and background music. The analysis provides inspiration for elements to include in the author's own endless runner game.
This document discusses production design elements for a performance of William Shakespeare's play "Julius Caesar". It includes sections on costume design, lighting design, set design, and direction. For costumes, it describes the historical period and proposed outfits for key characters like Caesar and Brutus. The lighting design section outlines how lighting can be used to focus on important scenes and characters, set mood, and transition between scenes. The set design discusses creating the setting and establishing period details. Finally, the direction section provides casting choices and describes the play's themes of deceit and hatred that will be emphasized.
This document outlines the director's plans for a production of Shakespeare's Julius Caesar. It discusses choosing the script, casting actors like George Clooney as Julius Caesar and Russell Crowe as Brutus. It covers the style and period of ancient Rome that will be depicted through realistic costumes like togas and tunics. Elements like the spine of change, lighting design, and Nigel Bologna's costume design focusing on historical accuracy are also summarized.
This document provides details about the pre-production process for a concept video game, including gameplay mechanics, characters, story, and marketing. The game will be an 8-bit turn-based post-apocalyptic RPG with a focus on story and characters. Target audiences are mature gamers ages 15+, as younger audiences may not appreciate the mechanics and story-driven focus. Advertising will target dedicated gamer websites rather than more general audiences. Details are also provided about sound effects, music, color schemes, and font styles being considered to set the retro-futuristic tone. Concepts for character designs, combat mechanics on a grid system, and overworld movement are outlined.
The document discusses research on existing video games to inform the production of a new role-playing game. It analyzes Doki Doki Literature Club, Undertale, The Last Night, and Monkey Island, noting gameplay elements, visual style, lighting/sound, and audience appeal. Key aspects the producer wants to include are the choice-based storytelling of Monkey Island, the pixelated art of The Last Night and Undertale, and the text boxes and music cues of Doki Doki Literature Club. The research found common features like dramatic lighting, music to set tone, and fighting/action.
The director has chosen key elements for their production of Julius Caesar including the original Shakespeare script, casting major roles with actors like Leonardo DiCaprio as Caesar and Benedict Cumberbatch as Cassius, and identifying the spine of the play as Caesar's success leading to envy from Cassius. Details are provided on lighting, costumes, sets and the directorial concept of conveying betrayal through modern characters in a suspenseful production.
Here are a few key insights from your audience research:
- Strategy game audiences enjoy challenge and setbacks but want mechanics and systems to be well thought out and make logical sense. Things shouldn't be added just for show without proper consideration.
- Testing and polish are important. Audiences don't want to deal with bugs or unfinished/untested mechanics.
- A balance of challenge and reward keeps audiences engaged. Failing missions should cost the player but they should also feel properly rewarded for successes.
- Familiar locations or factions can provide a sense of safety or attachment that the game can then subvert for surprise or stakes later on. Audiences enjoy when games mess with their expectations in meaningful ways.
-
The document provides reflections from a student on their upcoming video game animation final major project (FMP). They plan to create a fantasy RPG video game animation to improve upon concepts from their previous project. They will focus on animating the overworld and battle scenes with more fluid character movements. The target audience is teenagers and young adults. It will first be released on the Nintendo Switch for exclusivity. Character designs and a lava-filled cave area are described in detail. The protagonist Arwynn leads a party of characters with different personalities and abilities. The antagonist is a dragon-like creature called the Hydragon.
Andrew Downes created fan art for a magazine featuring three characters from Skyrim. He spent a long time designing each character, making multiple changes to details like clothing, weapons, and perspective. He also created backgrounds for the fan art and magazine cover/spread, using techniques like blending colors and adding textures. The document provides an in-depth look at Andrew's process for conceptualizing and refining each element of the fan art and magazine pages.
The document provides details on the pre-production process for a video game project. The creator plans to design characters, environments, and a narrative outline for a 3D game in the Dreams software. They will focus on a dollhouse setting and story involving themes of life, death, and change targeted toward late teen female gamers. Reference material like mood boards were created to inform the visual development of the main character, house, and monster features. Initial background art and character designs were drafted based on the research.
The researcher evaluated their game design process. They found their research on game styles, architectures, and characters from games like Super Mario Bros. was helpful for influencing their ideas. However, they could have researched pixel game animations and backgrounds more to improve fluidity. Overall, their finished product met their plans in terms of locations, character sequences, and music creation within their timeframe, though character walking could have been smoother. The game aimed to appeal to audiences interested in Chinese history or art through its simple gameplay, colors inspired by architecture, and lack of graphic violence.
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.
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.
Here are some guidelines for taking breaks when doing VDU (visual display unit) work such as computer work:
- Take a 5-10 minute break after 50-60 minutes of continuous screen work.
- During breaks, look into the distance to relax your eyes. Blink your eyes a few times.
- Stretch your arms, back, neck and legs during breaks to avoid muscle fatigue.
- Break up long periods of sitting with short periods of standing up or gentle exercises.
- Make sure to take your main lunch/meal break away from your screen if possible.
- Adjust your workstation ergonomics to avoid awkward postures that can cause strain.
Taking regular, short
The document summarizes key aspects of several existing endless runner games that the author is researching for their own endless runner game. The games analyzed include Mr Jump, Subway Surfers, and Crossy Road. Common features identified across the games include a side-scrolling perspective, obstacles that move towards the player, collectable items, multiple levels or biomes, animated characters and effects, and upbeat background music. The analysis of each game provides details on its gameplay mechanics, visual design, and audio to help inform the development of the author's new endless runner.
The document provides details on the mood board and inspiration for an upcoming game project. It includes images and descriptions of games, books, films, monsters, characters, and backgrounds that will influence the design and story of the mental illness-themed game. The mood board conveys a dark, hopeless atmosphere using mainly dark colors and textures. It establishes three main characters that will explore different maps influenced by their mental illnesses portrayed as monsters. The mood board will serve as the foundation and structure for the overall project.
This document provides an overview of pre-production planning for a horse-themed video game targeted at girls ages 16-19. It includes details on the intended audience, style guides for three levels and character design, proposed sound effects and music, contingency plans, and health and safety considerations. Reference images and color schemes are presented to inspire forest, cave and field backgrounds, as well as pixel character sprites and enemies. Screenshot layouts visualize the three levels. Sound effects will be created in BeepBox or sourced royalty-free, while background music also uses BeepBox. Regular saving, backups, and working from home are contingency plans if work is lost or the creator cannot access the classroom. Cables should be tidy
The document discusses research conducted on existing turn-based strategy games like XCOM and Total War: Warhammer 2 to understand features that appeal to target audiences. Interviews were also conducted with fans of the genre to learn about their preferences. Research findings will be applied to the development of the author's own turn-based strategy production to ensure it appeals to fans of the genre.
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.
Video Game #7 Evaluation Infinitely DoneJoeDuffy28
The document provides an evaluation of the author's research, planning, time management, technical qualities, aesthetic qualities, and audience appeal for their creative project. Some strengths identified include linking game design to themes, character designs, a detailed schedule, and battle animation. Weaknesses include a lack of specific examples in the research and simpler character movement. The author struggled with time management when character creation took longer than expected. They would have liked to include more details, a battle interface, and a full battle sequence given more time.
The document discusses initial ideas for illustrating a digital graphic narrative based on the story "The Elves and the Shoemaker". The student provides examples of character appearances that resemble the kind and pleasant shoemaker and wife as well as the childish and mischievous elves. They want to depict the locations and shoemaker's home accurately to the historical time period and the shoemaker's poor status. Of the font options presented, the student prefers the third font as it suits the child-friendly storytone.
This document contains evaluations from a student of various digital graphic narrative exercises they completed, including shaping an image, rotoscoping, working with text, creating a comic book page, photography, illustration, and initial ideas generation. For each exercise, the student provides what they liked about the image and what they would improve if doing it again. They note things like making shapes more detailed, adding more detail to rotoscoped images, experimenting more with text warping, increasing levels on a cutout tool, improving poses for emotions, and being more consistent with shading.
The document summarizes key aspects of several existing endless runner games that the author is researching for their own endless runner game. The games analyzed include Mr Jump, Subway Surfers, and Crossy Road. Common features identified across the games include a side-scrolling perspective, obstacles that move towards the character, collectable items, multiple levels or biomes, animated characters and effects, vibrant colors, and background music. The analysis provides inspiration for elements to include in the author's own endless runner game.
This document discusses production design elements for a performance of William Shakespeare's play "Julius Caesar". It includes sections on costume design, lighting design, set design, and direction. For costumes, it describes the historical period and proposed outfits for key characters like Caesar and Brutus. The lighting design section outlines how lighting can be used to focus on important scenes and characters, set mood, and transition between scenes. The set design discusses creating the setting and establishing period details. Finally, the direction section provides casting choices and describes the play's themes of deceit and hatred that will be emphasized.
This document outlines the director's plans for a production of Shakespeare's Julius Caesar. It discusses choosing the script, casting actors like George Clooney as Julius Caesar and Russell Crowe as Brutus. It covers the style and period of ancient Rome that will be depicted through realistic costumes like togas and tunics. Elements like the spine of change, lighting design, and Nigel Bologna's costume design focusing on historical accuracy are also summarized.
This document provides details about the pre-production process for a concept video game, including gameplay mechanics, characters, story, and marketing. The game will be an 8-bit turn-based post-apocalyptic RPG with a focus on story and characters. Target audiences are mature gamers ages 15+, as younger audiences may not appreciate the mechanics and story-driven focus. Advertising will target dedicated gamer websites rather than more general audiences. Details are also provided about sound effects, music, color schemes, and font styles being considered to set the retro-futuristic tone. Concepts for character designs, combat mechanics on a grid system, and overworld movement are outlined.
The document discusses research on existing video games to inform the production of a new role-playing game. It analyzes Doki Doki Literature Club, Undertale, The Last Night, and Monkey Island, noting gameplay elements, visual style, lighting/sound, and audience appeal. Key aspects the producer wants to include are the choice-based storytelling of Monkey Island, the pixelated art of The Last Night and Undertale, and the text boxes and music cues of Doki Doki Literature Club. The research found common features like dramatic lighting, music to set tone, and fighting/action.
The director has chosen key elements for their production of Julius Caesar including the original Shakespeare script, casting major roles with actors like Leonardo DiCaprio as Caesar and Benedict Cumberbatch as Cassius, and identifying the spine of the play as Caesar's success leading to envy from Cassius. Details are provided on lighting, costumes, sets and the directorial concept of conveying betrayal through modern characters in a suspenseful production.
Here are a few key insights from your audience research:
- Strategy game audiences enjoy challenge and setbacks but want mechanics and systems to be well thought out and make logical sense. Things shouldn't be added just for show without proper consideration.
- Testing and polish are important. Audiences don't want to deal with bugs or unfinished/untested mechanics.
- A balance of challenge and reward keeps audiences engaged. Failing missions should cost the player but they should also feel properly rewarded for successes.
- Familiar locations or factions can provide a sense of safety or attachment that the game can then subvert for surprise or stakes later on. Audiences enjoy when games mess with their expectations in meaningful ways.
-
The document provides reflections from a student on their upcoming video game animation final major project (FMP). They plan to create a fantasy RPG video game animation to improve upon concepts from their previous project. They will focus on animating the overworld and battle scenes with more fluid character movements. The target audience is teenagers and young adults. It will first be released on the Nintendo Switch for exclusivity. Character designs and a lava-filled cave area are described in detail. The protagonist Arwynn leads a party of characters with different personalities and abilities. The antagonist is a dragon-like creature called the Hydragon.
Andrew Downes created fan art for a magazine featuring three characters from Skyrim. He spent a long time designing each character, making multiple changes to details like clothing, weapons, and perspective. He also created backgrounds for the fan art and magazine cover/spread, using techniques like blending colors and adding textures. The document provides an in-depth look at Andrew's process for conceptualizing and refining each element of the fan art and magazine pages.
The document provides details on the pre-production process for a video game project. The creator plans to design characters, environments, and a narrative outline for a 3D game in the Dreams software. They will focus on a dollhouse setting and story involving themes of life, death, and change targeted toward late teen female gamers. Reference material like mood boards were created to inform the visual development of the main character, house, and monster features. Initial background art and character designs were drafted based on the research.
The researcher evaluated their game design process. They found their research on game styles, architectures, and characters from games like Super Mario Bros. was helpful for influencing their ideas. However, they could have researched pixel game animations and backgrounds more to improve fluidity. Overall, their finished product met their plans in terms of locations, character sequences, and music creation within their timeframe, though character walking could have been smoother. The game aimed to appeal to audiences interested in Chinese history or art through its simple gameplay, colors inspired by architecture, and lack of graphic violence.
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.
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.
Here are some guidelines for taking breaks when doing VDU (visual display unit) work such as computer work:
- Take a 5-10 minute break after 50-60 minutes of continuous screen work.
- During breaks, look into the distance to relax your eyes. Blink your eyes a few times.
- Stretch your arms, back, neck and legs during breaks to avoid muscle fatigue.
- Break up long periods of sitting with short periods of standing up or gentle exercises.
- Make sure to take your main lunch/meal break away from your screen if possible.
- Adjust your workstation ergonomics to avoid awkward postures that can cause strain.
Taking regular, short
The document summarizes key aspects of several existing endless runner games that the author is researching for their own endless runner game. The games analyzed include Mr Jump, Subway Surfers, and Crossy Road. Common features identified across the games include a side-scrolling perspective, obstacles that move towards the player, collectable items, multiple levels or biomes, animated characters and effects, and upbeat background music. The analysis of each game provides details on its gameplay mechanics, visual design, and audio to help inform the development of the author's new endless runner.
The document provides details on the mood board and inspiration for an upcoming game project. It includes images and descriptions of games, books, films, monsters, characters, and backgrounds that will influence the design and story of the mental illness-themed game. The mood board conveys a dark, hopeless atmosphere using mainly dark colors and textures. It establishes three main characters that will explore different maps influenced by their mental illnesses portrayed as monsters. The mood board will serve as the foundation and structure for the overall project.
Here are 10 pixelated redraws of the early additional drawings with colour and lighting effects for potential creatures in the video game:
1. A light blue manta ray-like creature with lights on its back that sticks to higher waters and isn't dangerous.
2. A see-through sea anemone-like creature with its inside glowing that floats close to the surface and isn't dangerous.
3. A slightly see-through jellyfish-like creature with lights on its head that resides deep in the ocean and is dangerous.
4. A creature inspired by eels and whales with lights across its whole body and tail that lurks deep in the ocean and is highly dangerous.
5. A see
- The target audience of males aged 18-35 is still relevant but could be expanded. Gaming demographics are becoming more balanced between genders.
- Mobile gaming is more popular than PC gaming, but the pixel art style may appeal more to PC gamers. Ensuring the game looks and sounds interesting will be important for attracting players.
- PC gaming remains more popular than esports viewing. Focusing a game for PC over mobile may appeal more to the target demographic.
- Shooter games remain very popular, so including shooter elements could help engage the target audience. However, the game needs its own unique identity
Here are 10 pixelated redraws of the early additional drawings with colour and lighting effects for potential creatures in the video game:
1. A light blue manta ray-like creature with lights on its back that sticks to higher waters and isn't dangerous.
2. A see-through sea anemone-like creature with its inside glowing that floats close to the surface and isn't dangerous.
3. A slightly see-through jellyfish-like creature with lights on its head that resides deep in the ocean and is dangerous.
4. A creature inspired by eels and whales with lights across its whole body and tail that lurks deep in the ocean and is highly dangerous.
5. A see
This document contains evaluations of different digital graphic narrative assignments, including shape tasks, rotoscoping, text-based images, comic books, photography, illustrations, and initial ideas. For each assignment, the student provides what they liked about the image and what they would improve. They receive feedback on their story proposal, which includes a plot overview, production methods, target audience, and advantages/disadvantages of the file format. The feedback identifies strengths and areas needing further development.
The document discusses various concepts related to analyzing visual media, including iconography, narrative structures, stereotypes, and analyzing posters, trailers, and soundtracks. Key points include definitions of linear vs non-linear narratives, examples of common stereotypes (e.g. for gender and class), and how visual and audio elements of posters and trailers can be manipulated to influence audience perception and interest.
The initial document summarizes plans for an adventure game animation inspired by The Elder Scrolls franchise and The Big Lez Show. It discusses setting the game in a fantasy world or space, with a focus on character and sprite creation. The mind map explores potential settings like space or a post-apocalyptic world, with character, color, and environment details. The mood board shows images relating to choices, dark colors, and influences from Skyrim and The Walking Dead. The schedule outlines a 5 week production process including initial response, research, planning, production, and evaluation. Sources planned for the project include Skyrim, The Big Lez Show, Pokémon Let's Go, and Telltale games.
The original script describes the town of Hamelin which lived contentedly until the rats began multiplying to plague the town, overwhelming it with their numbers in a "black sea" of rats. The citizens of Hamelin were honest folk who lived peacefully in their grey stone houses until the rats disturbed their peace and multiplied out of control, swarming over the entire town.
This document summarizes Xavier Mayi's photography presentation focusing on color and fantasy themes. It includes analyses of 6 photos: 1) "An Orange" demonstrating color and light, 2) "I'm Just Playing" showing contrast between neon colors and black, 3) "This Is War" using a blurred chessboard to depict an epic battle, 4) "Our Leaders" blurring some chess pieces to symbolize different perspectives, 5) "Battle Interrupted" using a toy dragon and camera angles to make the subject seem larger and more threatening, and 6) the photographer's inspirations including films and classroom lessons on photographic techniques.
This document summarizes Oliver Keppie's research on existing products that utilize similar art styles to what is being used for their game. Several existing products are discussed, including Cuphead, Mortal Kombat, Double King, and New Super Mario Bros Wii. Key aspects that will be incorporated from these existing products include animation style, camera angles, lighting effects, color palettes, and using color theory to convey character personalities. Color will also be used to set the tone of different levels and backgrounds to match the aesthetics of different characters.
This document summarizes Oliver Keppie's research on existing products that utilize similar art styles to what is being used for their game. Several existing products are discussed, including Cuphead, Mortal Kombat, Double King, and New Super Mario Bros Wii. Key aspects that will be drawn from these existing products include animation style, camera angles, lighting effects, color palettes, and how color is used to convey tone and atmosphere. Color theory research indicates that warmer and cooler tones can set different moods, and that muted background colors against vibrant foreground objects helps draw attention. The document discusses applying these lessons to character and map design in the new game to match aesthetics and personalities.
The document describes experiments the author conducted to create assets for a jungle-themed game. In the first section, the author details creating a jungle background by copying a reference image and adding block colors, rocks, rapids, and plants of varying detail. The second section discusses drawing a main character for the game wearing camouflage and holding various weapons, including guns and a flamethrower. In the reflection, the author notes issues with asset size and consistency of detail that will need to be addressed going forward, and reflects on choices that informed weapon and character design decisions for the game.
The document discusses plans for a mobile and console game targeted towards teenagers aged 16-21 but accessible to those aged 9 and up. It will have multiple difficulty levels to appeal to a wide age range. The game's theme is space and players control a character to defeat alien enemies and collect items. Screenshots and drawings show level layouts, the character, enemies, and backgrounds. Sound effects and music are also planned. Contingency plans address potential issues like lost work or things not going as planned.
Cameron Whapples created background elements and characters for a jungle-themed game. For the background, Whapples drew rocks, rapids, ferns and bushes of different styles and levels of detail. Whapples reflected that consistency of art style is important and the background elements would benefit from a higher resolution. Whapples also drew concept art for the main character in camouflage clothing and various weapons, reflecting that weapons would need to fit the character's hands and be interchangeable. The experiments helped Whapples understand what elements work best for the game.
This document proposes a digital graphic narrative called "The Three Little Fish" that retells the classic story of "The Three Little Pigs" but with fish characters. The proposal includes details on the plot, characters, colors, fonts, and backgrounds that will be used. It also specifies that the book will be 10 pages long and exported as PDF files. The story follows three fish who each build a house out of different materials - bubbles, seaweed, and stones. When a shark comes along looking for food, the first two houses are destroyed but the fish escape to the stone house where they are safe from the shark.
This document proposes a digital graphic narrative called "The Three Little Fish" that retells the classic story of "The Three Little Pigs" but with fish characters. The proposal includes details on the plot, characters, colors, backgrounds, fonts to be used, and proposes exporting the finished narrative as a 10-page PDF file. The story follows three fish who each build their homes out of different materials - bubbles, seaweed, and stones. A hungry shark threatens the fish but ultimately hurts himself trying to enter the sturdiest stone home.
The document discusses and analyzes several existing Dark Souls fan art products. It finds that the products commonly feature bleak, grim backgrounds and include recognizable characters like the main protagonist in iconic armor. The analysis indicates the author will include health bars and other game mechanics in their own pixel art-style work, and will aim to capture the bleak atmosphere of Dark Souls through lighting and themes of darkness.
The document discusses research the author conducted on existing tower games and platformer games to inform the design of their own game. Several games are analyzed for their visual style, character design, backgrounds, and gameplay mechanics. The author intends to take inspiration from the aesthetics and simplicity of the second game analyzed while keeping their own game design more minimalistic and relaxing without complex challenges or scoring systems.
The document provides an overview and context for a proposed dark fantasy video game concept. It describes the medieval setting, vengeance story plot, and pixel art style. It also notes that the concept is intended to further the author's understanding of different industry roles and storytelling skills. Target audiences are identified as 16-25 year old males and 26-33 year old females from middle to upper middle class backgrounds. The game would appear on consoles or PC, though likely just as design documents and art.
The document discusses key influences and reviews for Andrew Downes' planning and pre-production work. Some of the key influences mentioned include Shovel Knight for its story, character progression/design, and gameplay mechanics. Other influences discussed are Castlevania for its pixel art style, Dead Cells for its enemy and character designs, and Inmost for its art style and animations. The summary reviews these influences and notes that while they differ in stories and settings, they are all games that incorporate pixel art as the main art style. The document also includes a mind map outlining what Andrew likes about his project idea, areas needing development, what he wants to achieve, and how it could help him in the future.
This document summarizes the author's work over 9 weeks on their FMP (Final Major Project) diary. In week 1, the author researched inspirations for their fantasy game including authors and game developers. They started a pre-proposal and proposal, focusing on the rationale. In week 2, they continued the proposal and received feedback, improving areas. In week 3, they created mood boards and began research on existing fantasy games. Weeks 4-6 involved finishing research, experiments in storywriting, music, and character creation. Weeks 7-8 focused on problemsolving, planning, and developing the game story in more detail. The coronavirus pandemic gave the author more time to work.
The document describes the abilities and mechanics of two characters, Tenkanashi and Zenkishi. Tenkanashi has light and heavy attack options, can block, dodge or roll to avoid attacks, and use ranged weapons. Special abilities include a spin attack, charged ranged attack, and charged heavy attack. Zenkishi can instantly kill with light attacks if silent, can block, dodge or use ranged weapons. Special abilities include vanishing to become invisible, setting rope traps, a spin attack, and charged ranged attack. Both characters can harden to block all damage without using stamina. Common movement options are also listed.
Tenkanashi engages in a battle with a cloaked man and his protectors, defeating them. However, the cloaked man activates a yokai stone, transforming into a giant ogre demon. Tenkanashi retreats and encounters assassins led by his old friend Zenkishi. They work together to defeat the ogre, but Zenkishi flees and Tenkanashi follows, wanting to help his friend. Zenkishi explains he is being hunted by demons sent by a general he tried to kill. They seek the priest Maou for help at a nearby holy site, but find it under attack by two demon legions.
The document summarizes a student's audit of the Adobe Illustrator software. In three sentences:
The student used Adobe Illustrator to create characters and areas for a game concept. They found the tools similar to Photoshop but more difficult to use, and anything requiring canceling required holding the control button. While they had little experience, friends found it awkward and the export screen lacked options, requiring effects be added before exporting. The student rated their confidence level as a 3 after the audit, having started at a 1.
The document is an equipment audit checklist for Adobe Photoshop software. It summarizes how the user will use Photoshop for character designs, beast designs, and setting designs, and then showcase the work or put it into Microsoft Word. It lists common tools used like the color selector, magic wand tool, and pencil tool. It describes common problems like exporting with blurred details or small details needing more work. The user rates their confidence level as a 4 after the audit discussion, compared to a 3 before. It notes the need to learn better drawing techniques in Photoshop as current designs are not very good looking compared to other people's work.
Unity is a 3D design software that can be used to create character and environment designs for games. However, it is better suited for importing existing designs rather than creating them from scratch. Common issues include it having a difficult interface to use and objects being easy to accidentally modify or delete. While it allows for camera and character controls like a game studio, the programming aspects were not understood. More experience would be needed to feel confident using Unity for 3D production.
The document provides an explanation and analysis of various experiments conducted by the author related to developing skills for creative writing and multimedia production.
The experiments include: 1) Writing short fiction excerpts to practice storytelling skills, 2) Creating simple music tracks using online tools to explore pacing and tone, 3) Learning 3D modeling software and attempting basic 3D asset creation, 4) Drawing characters using pixel art styles in Photoshop and Illustrator to compare tools, 5) Sculpting a 3D landscape in Sculptris.
The author analyzes each experiment, noting lessons about pacing, tone, software proficiency and preferences. Overall, the experiments aimed to expand the author's skills in preparation for a
1) The document describes the production process for a game project over 4 weeks. In the first two weeks, the author created layouts and designs for a top-down map of an old city, including speech bubbles and different house styles.
2) Main challenges included ideas requiring more time than available and decisions made halfway through without enough time left. The large scale top-down map of York took significant time to design and ensure alignment of pieces.
3) Additional issues involved being pulled away from the project work to complete other tasks, as well as difficulties showing the full map design given it was composed of 25 separate pieces.
This document provides an overview of key historical events in York, England from Roman times to the 20th century. It discusses events such as the founding of York by Romans in 71 AD, kings being christened in York in the 7th century, Vikings capturing the city in 866 AD, the building of York Castle after the Norman conquest in 1068 AD, and the uncovering of Viking York during archaeological digs in the 20th century. It also provides more in-depth summaries of some individual historical events and figures, such as emperors who died in York and the battles that followed, and King Edwin's christening in 627 AD.
The document summarizes research on several fanzines. Key ideas taken from the fanzines include using a clear layout, balancing images and text with a 50/50 ratio, and using vibrant colors. Mythology and video games were cited as potential topics. Concerns included fanzines having a niche audience and the researcher not previously being aware of fanzines. Overall fanzines were deemed a poor medium for selling ideas compared to books, magazines, or blogs.
The document discusses applying to university through UCAS, the organization responsible for managing applications to higher education programs in the UK. Students must complete the UCAS application form, selecting up to five course choices at different universities, before the January deadline to be considered for enrollment in the upcoming academic year. Universities will review applicants and make offers of admission or rejection, with students receiving responses by late spring/early summer.
The document discusses the author's interests in history, classics, mythology, and video games. They enjoy learning about different mythologies and narratives. They would like to create concept art and animations for mythology or fantasy-based video games. They have enjoyed games like The Witcher 3 for their design and narrative. The author has studied history, art, and classics which will help in their goal of entering the video game design field. They have practiced pixel art and animation and want to continue improving their skills through further education and university.
The document summarizes the author's experience at the Aesthetica Short Film Festival, where they saw short films, music videos, and animation at the opening night screenings. They also visited VR labs demonstrating VR films of varying quality and saw student films from Manchester University, most of which were too long with poor storytelling. The most informative part was an Industrial Light and Magic masterclass on the visual effects work for Spider-Man: Far From Home, covering lighting, texturing, and character skeletons, though the author missed the Q&A. Overall the author felt they learned a bit about lighting and texturing from the experience.
Andrew is influenced by several pixel art games including Shovel Knight, Castlevania, Dead Cells, and Inmost. They utilize pixel art styles and have engaging gameplay, but vary in story, art style, and animation techniques. To improve his own project, Andrew needs to develop his monster and background designs, implement music, and work more efficiently to complete experiments and paperwork. His goals are to achieve a distinction, create an engaging revenge story-driven game, and build a portfolio of work showcasing his pixel art and storytelling skills. This will help him improve his drawing and writing abilities for future game projects or portfolio use.
The production schedule outlines Andrew's plan to create characters, stories, settings and other elements for his creative project over six weeks. However, he anticipates potential problems like difficulty finishing stories, drawing characters, thinking of side characters, laziness and poor understanding of story writing. To address these, he may need to spend more time on tasks or combat laziness. Keeping a log of his process will help document any issues and solutions.
The document provides concept details for a dark fantasy video game set in the medieval era featuring monsters and demons. The protagonist's story will involve vengeance. The world will include both dying and prosperous areas. The game would use an over-the-shoulder camera and pixel art style. The concept aims to further the author's understanding of different industry roles and storytelling skills. The target audience is predominantly male, aged 16-25 from a middle-class background, with a secondary audience of female players aged 26-33 from an upper-middle-class background. The game would appear on consoles or PC, though may only be a concept without full development.
This document provides a bibliography of sources related to video game developers, composers, and artists. It includes references to Wikipedia pages and interviews about Andrzej Sapkowski (author of The Witcher books), Lauren Hissrich and Konrad Tomaszkiewicz (developers of The Witcher games), Mick Gordon (composer for Doom and other games), Cory Barlog (director of God of War), Todd Howard (director at Bethesda Studios), and Gilles Beloeil (concept artist for Assassin's Creed and teacher at CGMA). The sources consist of web pages, YouTube videos, Reddit posts, and professional websites that provide information about their works and careers.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
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The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
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Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
3. Pre-production
• What are you making? (explain what you have been asked to do)
• I am making a video game which will be a side scrolling platformer which has
some action elements to it. The general story will be that the main character
will be suffering from all sorts of mental illnesses and they take monstrous
forms which you have to kill to complete the stages at the end he commits
suicide at the end.
• Why? (What is the purpose of making your Film)
• I am making it for the sake of making it as I thought it would be a cool idea to
have layer upon layer of story and then do something fairly similar for the
visuals to create layers after layers for backgrounds and creatures of the sort.
• Who is it for? (Audience)
• My primary audience will be 16-19, male, upper middle class and socially
conscious type B. My secondary audience will be 20-25, female, lower upper
class and emulator.
• Where will it appear/on what? (How will audience see it)
• It will appear on computers and laptops if it was actually made into a fully
functioning game it would appear in shops such as PS, Xbox, Steam and more.
Reflection:
4. Style Sheet
These six colours are what I am going to use as tints throughout the game the black the blue and
the green ones are the ones that I am definitely going to use but the others are going to be a bit
more experimental because the yellow I am going to be using will be for the sun and when it
breaks through clouds or something to that sort of effect where light is being used well, the grey
will be used for the clouds or for when the clouds start to thin out a bit and as for the red I
would be using for blood red and showing how many lives the main character has and also I
might just use it is a you died screen or even just using it for when they go into deep dark areas
like maybe having a lava level or going to hell that sort of thing. The blue will be used for light
reflected off of the moon also just to add a sense of darkness and light in the dark, the green will
be for the light reflected off of leaves and flowers with in the forest stage, the black will be used
in the city just to make a light and happy place darker than it should be and create a sense of
dread about it.
These colours are the ones that I am planning on using throughout the game most of them would fit together but the
only reason that there are so many different colours which don’t mix is because I am planning on splitting my game
down into different stages. Taking place in different parts of the world the greens, red, blues and greys are for the
forest to create contrast and I have to use the lighter colours because when I add the tint on at the end all the colours
will turn darker and so it is better to work with lighter colours in the beginning. The greys, yellows, blues, oranges and
black will be in the city as I want to try and make the city look as dark as possible to try and make it look like the worst
place you could possibly be . The oranges, yellows, reds , blues, black and greys will be for the lava underground level.
6. Style Sheet Knights Analysis
• The knight in the top left corner is from shovel knight it is the nemesis of shovel knight it is sort of
what I want my knight to look like in the end the upper part of the shovel knights body is pretty
much the spitting image of what I wanted to make but for what I want the posture is off completely
also the legs are far too thin for the massive upper body and as for the colour scheme it looks cool
but it doesn’t fit what you would think was a stereotypical knight in shining armour, and I also like
that his weapon is a shovel but yet again it is not what you would expect to see a stereotypical
knight holding. The knight in the top right is someone else take on what a knight would look like I
really like the design of it with its proportions but when it comes down to the general height of the
piece it is a bit too tall and also the general posture of the back is wrong for what I want to draw, as
for the colour scheme it is fairly good but I would take away the yellow outline of the red colour
and as for the weapon it just seems a bit odd when it comes down to the shape and size of the
sword it just doesn’t feel right for someone of that height to wield such a big sword. The knight in
the bottom left is just about perfect for proportions and it has a lot of detail but yet again the
posture is off and just doesn’t work with what I want to draw, it also has a great colour scheme with
the iron sort of grey silver and the red but all you see is the character holding a shield but it is a
good size for the body. The bottom right knight is a sort of remake of Artorias from Dark Souls, I like
how detailed the drawing is but I don’t want to draw anything as detailed as this and it is a bit too
tall of a drawing but when it comes down to the posture it is just right for the kind of knight I want
to draw because he is slightly hunched over and as for the colour scheme I also really like it with
the silver/ grey for the armour and the blue for the cloth but when it comes down to it I want to
draw something which is a mixture between the bottom left and the bottom right knight to show
detail in a small amount of space.
8. Style Sheet Wood Analysis
• The wood on the top left is good because of the use of colour shading and layers the colour is good because that
is what you would associate with forests plants and all other forms of creature or plant in a wood, the shading is
good because it makes all the different layers pop like at the front it is practically black and then it becomes light
green, normal green and then dark green to show how far away these trees and shrubs are away from the point of
view and as for the layers they are great because the top layer hides a certain amount of what you should be able
to see in wood and then as I was saying the darker the colour gets the further away the picture drawn is. As for
detail it is fairly detailed when it comes down to the leaves and grass but when it comes down to the rest I think it
looks better because it has less detail but I don’t really want to create something similar unless I was going to use
layers and also the detail for the grass and leaves for the trees. The wood on the top right is fairly detailed when it
comes to looking at the ground but in all honesty the best part about this image for me is the shading and the
detail on the shrubs on the floor I am saying that the shading is good because of the fog effect that they have
going on in the background and right at the very front underneath the shrubs has nice shading and when I say the
detail they don’t give too much of it except for when it comes down to the colour and shading in the background
and also when it comes down to the shrubs down at the front of the piece it is very precise I want to be able to
use both of these aspects in mine just from a different point of view. The wood which is in the middle is the one
that I want my drawing to look fairly similar to as it has layers colouring shading precision and detail but above all I
just like it and the idea it promotes all I will have to do to that image is make it darker and maybe add some sort of
tint to the background of it layers pop because of the use of shading and colour and then they also add tons of
detail to the trees and shrubs around the front layer it is also fairly precise when it comes down to the blades of
grass and leaves. The bottom wood is yet again another sort of image which I would like to copy as it is fairly
similar when it comes down to all the things I have mentioned that the middle one had, the only thing different
about it is that it uses a different sort of art style which makes it look much more detailed than it probably is but I
can’t really say anything different about this one that would be different to the other one except for the fact that
they use a lot more space than the middle one so it seems a bit cramped but then again I think that can also lend
itself to the over all detail of the piece.
10. Style Sheet Platformer Analysis
• The platforming game on the top well as a start I thought that there would be a lot more floating
platforms in the middle of nowhere and just in general I though that it would be a good idea t have
a lot of platforms just dotted about the map but then when it comes down to this there are four
different floating platforms and they just have massive gaps so they must have a double jump sort
of visual somewhere or at least some sort of way saving yourself falling to your death but the other
thing that I have noticed about the game is that they pay a lot more attention to the foreground
and the main character than to their background so as a whole it is only being dragged down by the
background they have included, the other interesting thing about this will be the sign and the
bridge such as the bridge could look rickety and when the main character steps on it, it could fall
from underneath them and have them fall into a pit and the sign could be able to interact with it
and thus give the main character help, the other interesting thing there was the slime/ enemy
which means there will be some sort attack dodge and defend patterns. The bottom left platformer
is also fairly interesting because apart from there being very few platforms they have ladders which
would be weird to animate unless they tried to use the normal walking animation but raised the
arms a bit higher and they also have vines attached to things which look strong enough to take the
weight of the main character but what would be cool is if for both you could make them look weak
both the vines and the ladders which means yet again you can fall and take damage as the main
character, also this game has some sort of collectible which look like coins but there is an idea that
you could gather enough coins to heal yourself at some point. The bottom right platformer looks
fairly similar to the first one and the cool things that I can bring up is the bridge, the spikes, the
fence and the stones on the bottom of one of the platforms, the bridge is interesting because it
actually looks as if it could collapse and kill the player, I like the idea of the spikes but I would say
that you would need to make a bigger whole for the spikes and I would also suggest that you cover
up the trap and only give slight indications as to where it is, as for the fence I don’t think that it
would be a bad idea if you put a fence across the main character so he has to jump over it to
continue just to add some more game mechanics and the last one which will also make the game
fairly difficult will be to make it so you can die if you jump into the stones underneath a platform of
any kind to make sure that you can kill almost anyone.
12. Style Sheet Medieval City Analysis
• The medieval city on the top left is quite good even though it is shown at a different angle than
what I want to be able draw it from but it does give me an idea about spacing what kind of roofing
would be a good idea and also in general just the size of the buildings and the walls, and as a
general art style it just looks really nice maybe it is 3d, I also really like the idea of including
different buildings, statues and monuments and the grave near the front seems to be giving the
image quite a cool effect. The medieval city in the top right yet again is not looking at the streets
where I want to be looking but it does give me ideas about different structures such as castles,
mills, towers and dungeons mainly because they all look so different and interesting however
making all the buildings different will be hassle and a waste of time because you can add some of
them in the background which would then also add to the background if you have left it quite bare
but what would cool also is if I had an overhang on some of the buildings so then I don’t have to
use random platforms in the sky or just random structures to help it make sense. The medieval city
in the bottom left is quite good for its use of of the garden park area just in front of the castle area.
I think it could be quite interesting running through a park fighting of demons because usually you
would associate gardens with happiness and good times but I am probably going to turn this on its
head by turning into a demonic play ground. The medieval city in the bottom right isn’t really a city
but rather a castle which has a castle and a barracks but the only thing apart from that, which I will
probably use in my game will be the city defenses which probably won’t be cannons but more likely
to be either ballistae or catapults.
14. Style Sheet Sage Analysis
• The sage on the top left corner is more of the stereotypical kind of mage with the long white beard the staff cloak
and hat which I do like the Merlin-esque look however I don’t really like the colour scheme as there is far too
much blue when it comes down to the image and I am already planning on using blue as one of my main colours
in my piece so I don’t really want it to have too much blue in the costume. The sage at the top in the middle looks
very good because yet again the character has the long white beard he has wide brim hat, he also has a staff
which he is using as a walking stick and he is also carrying potions with him he is also wearing very average clothes
and a medallion my only concern with that is also having to animate the movement of the medallion and the last
thing is that his posture perfect even though it is because he is carrying a lot I am planning on having the mage I
use being hunched over. The sage in the top left corner has a short white beard and moustache and has crazy
scientist hair and glasses but this version has given me the idea for some different mechanics for this specific
character because this guy can float and he also has multiple arms made of magic and he can summon magic orbs
so yeah you might see some of these ideas in my actual game but none of the actual designs from the image. The
sage in the bottom left corner is interesting because he looks like he has a halo of fire which he can use as an
attack which seems like it could be fun also the other big difference is that this character is wearing full body
armour except for the helmet also the armour is red which is the sort of colour I am planning on using for my
character or I was going to maybe use a purple and just the general stance of the body looks as if he is charging up
some sort of magic. The sage in the bottom right corner is one of my favourites of the list because of the attention
to detail however I am probably going to need to draw something which doesn’t need to use up too much space
so the fewer pixels the better but I like the idea of having the character wearing a torn cloak and yet again the
purple compliments the red cape and also the blue and the purple work together well also and I also like how the
character is covering their face and so we don’t know who it is all we can see is the glowing blue eyes which I will
probably use for all my characters to further link them together and I will also probably use yellow flame attacks
rather than blue flame attacks.
16. Style Sheet Lava Level Analysis
• The hell scape in the top right corner is really good because of the shading, the layers, the colours
and the design in general. The shading and the colours work together to help the different layers
pop and separates it by making some distance between the objects/ stalactites in the background
and there is also lots of detail because you can see the flow of lava throughout the piece even
though it travels through the layers and then for the design in general it just looks so realistic with
the rocks being formed by smaller rocks and then the lava looks thick and looks as if it moves fairly
slowly and it also has rather hellish look as if the cave is continuous without anyway of escaping
and the other great thing is that it is looking at it from the point of view that I want to animate from
it. The lava level in the top right corner uses an awkward point of view for me to work with but I do
like the idea of having a cracked floor, stalactites and lava but it doesn’t really have the sort of
layers that I am looking for in my work and there isn’t too much detail either but the colouring and
shading around the lava is quite nice but I don’t think I will be using anything from this image. The
hell scape in the bottom right corner this my favourite one of the bunch as it uses fantastic amounts
of detail in the actual design, they are precise they use colour and shading properly and they use
layers really well. You can see the abundant amounts of detail by looking at the crucifixes and all
the swords and piles of dead bodies. Then for the colouring and shading which happens pretty
much everywhere in the piece and they also use the sort of layers that I want to use in my pieces
pretty much if I had created this image I would almost want to animate it and turn it into my FMP.
The lava level in the bottom right corner is good because of its use of colour and shade coming
from both the lava and the detailed rocks on the wall but it doesn’t really involve layers and it is yet
again really quite good for its point of view as that is where the character will be if not a bit higher.
18. Layout 1 analysis
• My first layout was to create a few potential enemies along with some of their
animations, the slime is complete which is the first one that you see which jumps
backwards and forwards and also melts away, this definitely one of my favourites
to both draw and animate as this will be the introduction monster it can be killed
with one shot and just in general it has quite a cute I say this because of its size
and different colour variations and its misleading look as this monster will be able
to eat your gear if it touches you and so it can make the rest of the game much
harder if you are hit by it as it could take away your sword or whatever you are
using to attack and once devours most of your gear it starts to take away your hit
points. As for the second monster who will dwarf the main character is supposed
to look like something which was made with sticks leaves and wood, this enemy
will be able to walk it just isn’t showing because the leaves cover its whole body
and as for the arms when it attacks they can morph into a massive hammer which
smashes the ground creating a dust cloud, it does help that this monster is slow at
walking but very fast when it comes down to attacking, if you get hit by this
monster their won’t be any special buffs but it will take away two of your hit points
unless you have some good armour on.
20. Layout 2 analysis
• My second layout was specifically for some Main character
movements I am just going to start off by saying that you will start
off with 6 hit points and when you gain armour you will then get
armour points which are technically extra hit points you start off
with no armour with a shirt, trousers shoes and a jacket, so I will
have to do a re-skin when I get to the production and when you get
a full set of armour what I have created for the layout will be what
the main character looks like. Also there will be different weapons
you can use throughout the game when you pick up a different one
though you will drop the one you currently hold. What my layout
shows though is the walk cycle, it’s standing cycle which is very fast
and then there is the jumping cycle and then I made an image of
the main character with a sword just to show how it could
potentially look.
21. Sound Effects List
Taking damage Giving damage
Blade strike rocks falling
Attack block trees falling
Snake Hiss something heavy falling on the ground
Bubbling lava crickets
Lapping water grunts
Wind whistling/ howling whistling
Wolf howl clash of the titans sound for kraken
Some sort of dodging sound zombie sounds
Splashing water jumping slime sound
Opening door roaring for troll
Closing Door gargling water/ drowning
Rain
Birds chirping
Foot steps
Drudging through leaves
Some sort of scream
Some sort of Mario coin collecting noise
Sheathing noise
Metal clanging noise
22. Music List
• I will be using hopefully at least two different forms of
music for each section, one being a sort of light hearted
piece of music as I am planning on having some sort of
cinematic and then when it comes down to the gameplay
have some sort of soft melodic song maybe with guitar and
drums but if not I will have to take music from some sort of
jazz band online.
• Some sort of upbeat song made with beepbox maybe
involving guitar as well times by 5-6 3for different levels,
one for the beginning and one for the end.
• Some sort of sad ballad made either with garage band or
with actual instruments and if that doesn’t work I will have
to take it from youtube, also times by 5-6 for the exact
same reasons.
23. Resources
Equipment/ Props/
Costume needed
Locations needed
computer Home/ college
laptop anywhere
Photoshop Computer/ Laptop
Premiere Computer/ Laptop
Garage Band Computer/ Laptop/ Phone
Phone anywhere
Beepbox Google
Some kind of voice recording kit College
YouTube for sound effects I can’t make Google/ anywhere
24. Contingency Planning
Potential Issue Solution
sickness tell teacher don’t turn up to lessons but do
work at home if possible
falling behind work in your own time
losing work/ corrupting work tell a teacher about it and continue working
faster
work not saving save it to multiple places
I don’t know how or what kind of music I am
going to make or use
ask for help and search on youtube
I don’t know how to use certain techniques and
different drawing and animation styles
Search Youtube and ask for help
25. Health and Safety
Potential Issue How will the issue be
avoided?
posture take a break
sore eyes take a break
migraines take a break
cramp take a break
repetitive strain take a break
tripping over cables tidy up the cables before you start working
26. Production Schedule
Day/Lesson Tasks
1 create character and monsters and their
movement cycle maybe start working on the
background
2 continue/ finish background and try to start
animating the background a bit
3 continue animating the background start to
create a mythological creature
4 continue creating a mythological creature and
start animating the attacks
5 create the background for another stage and
maybe start creating some other creatures and
their animation
6 make the mythological boss for this stage and
animate its movements.
27. Production Schedule
7 Create the final stage along with the
animations for it
8 Create another mythological boss and its
animations also use all the other bosses
as well
9 Go back to the other backgrounds see
what would be good to animate in the
background and do it
10 Create a start page maybe give it an
options page and instruction page
11 Create an end screen and also create
maybe some credits if there is anyone
else involved in its creation.
12 Maybe start to make some cinematic
pieces for the game might add to story
28. Production Schedule
13 Continue on with the creation of the
cinematic pieces
14 Continue on with the creation of the
cinematic pieces
15 Continue on with the creation of the
cinematic pieces
16 Create some music and sound effects by
this point you will see just about
everything that you will need sound for.
17 Create some music and sound effects
18 Create some music and sound effects
29. Production Schedule
19 Create music
20 Maybe think about other creatures I could
add to give the game some variety
21 Add some sort of collectibles and maybe
even think about achievements
22 Go over the game to try and smooth out
some of the animations sound effects and
music
23 Try to go over the game until there is
nothing else to fix
24 Try to go over the game until there is
nothing else to fix
30. Production Schedule
25 Try to go over the game until there is
nothing else to fix
26 Try to go over the game until there is
nothing else to fix
27 Try to go over the game until there is
nothing else to fix
28 Try to go over the game until there is
nothing else to fix
Editor's Notes
Use this space to document whatever pre-production work you did for your project. It will vary from person to person and project to project.
Use this space to document whatever pre-production work you did for your project. It will vary from person to person and project to project.