Major Project - Task 2
4/2/2025 - 17/3/2025 (Week 1 - Week 7)
Low Li Vern/ 0362678
Major Project / Bachelor of Design (Honours) in Creative Media
Task 2
INSTRUCTIONS
Task 2
Week 4 - Presentation Day
Week 4 was our presentation day, so we needed a clear and well
structured PowerPoint to explain our topic to Mr. Kamal and Mr. Kannan.
To ensure a smooth presentation, my groupmates and I divided the parts
based on what each of us understood best. We created our presentation
slides using Canva, making sure they were visually appealing and
effectively conveyed our ideas.
#Presentation Slide
We spent time refining our presentation slides to ensure we could
effectively present our topic. I was responsible for the problem
statement and gameplay stages, as I had contributed to developing
those ideas. I focused on making the content clear and well-structured
so that our audience could easily understand the purpose and
progression of our project.
Fig 1.1 Presentation Slide Progress
Major Project I - Task 1
#Presentation Time
We were assigned to present in the lecture hall, which made us a bit
nervous, especially using the microphone. However, in the end, our
presentation was a great success. Although there are still some
challenges with our project, I believe that with time and effort, we
can solve them effectively.
Fig 1.2 Photo with Mr Kamal and Mr Kannan
Fig 1.3 Presentation photo
Fig 1.4 Presentation group photo
Presentation Feedback
-There are too many stages for us, 9 stages are actually impossible
for me to execute. Recommended to cut down to 2 or 3 stages.
-Still need a lot of testing on Unreal Engine part to know whether we
can done it into Unreal Engine or not.
#Sketches
After the presentation, Enyu created new sketches for both our
characters and environments. To refine our concept and ensure the chosen
art style fits well with our VR game in Unreal Engine, we explored
different ideas through sketching. This helped us visualize how the
low-poly origami style would look in the game and make necessary
adjustments for better compatibility.
Fig 1.5 Sketch Character Style
Fig 1.6 Sketch Character Style
Fig 1.7 Sketch Environment Style
Fig 1.8 Sketch Environment Style
Besides character and environment sketches, I also worked on coin designs, experimenting with different materials to see which would be most suitable for the coin model. I explored various textures and finishes to ensure the coins fit well within the game's lowpoly style while still feeling visually distinct and immersive in the VR environment.
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Fig 1.9 Jade Coin Sketch
Fig 1.10 Jade Coin Ideation Sketch
For the jade coin, I initially thought it looked good, but I realized
it wasn't suitable for our low-poly style. The design had too much
detail, which would be difficult to model and might not look as
effective in the VR stage. A simpler, more stylized approach would
work better to maintain consistency with the game's overall
aesthetic.
Fig 1.11 Rock Coin Sketch
For the rock material, I felt that it looked too plain for a legendary
coin. Since the coin is meant to be special and meaningful in the game,
it needs a design that stands out while still fitting within the
low-poly style. I plan to explore other materials that can give it a
more unique and mystical appearance.
#Week 5
In Week 5, we had an online consultation with Mr. Kannan. He advised
us to switch from low-poly to mid-poly because low-poly models might
appear too rough in VR, especially when players view them up close.
This feedback made us realize that better details were needed to
enhance the visual experience.
- To-do (Mr Kannan):
- Research Chinese culture (e.g. traditional coins, weaponry, relics), characters, and environments (e.g. temples). Identify the patterns, colour palettes (characters should contrast with their environment), shape language etc. and extract.
- Download free 3D models (Sketchfab, Fab). Study and dissect the models (characters, environment), understand the topology, textures, UV mapping etc.
- Test in Unreal Engine (rigging). You don’t need to test a full character; you can just test a hand or arm just to see how it works.
Fig 2.1 Witness Reference
Fig 2.2 Genshin Reference
Fig 2.3 Chinese ancient buildings reference
Following his advice, we researched new references for both our
characters and environments to fit the mid-poly approach.
Additionally, he suggested using a painted texture style, which would
allow us to maintain a stylized look while still taking advantage of
mid-poly modeling. This approach would help enhance the art style and
make the game feel more visually engaging.
#New Character Sketches
After rethinking our new storyline, we started sketching our
characters based on the updated concept. At this stage, we focused on
designing five characters, ensuring they matched the new mid-poly and
painted texture style.
Since our project involves all 12 Chinese zodiac animals, we plan to
complete the remaining character sketches in Major II class. This
phased approach allows us to refine our designs and ensure consistency
across all characters.
Fig 2.4 Monkey turn around sheet
Fig 2.5 Ox turn around sheet
Fig 2.6 Mouse turn around sheet
Fig 2.7 Goat turn around sheet
Fig 2.8 Rooster turn around sheet
Our animal character designs are inspired by the five traditional
Chinese elements: Wood, Fire, Earth, Metal, and Water. Each
zodiac animal is assigned an element that influences its overall design,
colors, and textures.
For example, the goat represents the Wood element, which
symbolizes growth, stability, and organic energy traits that align with
the goat’s characteristics. To reflect this, the goat's base color is
warm brown, resembling natural wood tones, reinforcing its connection to
the Wood element while giving it an earthy and grounded
feel. The texture is inspired by wooden stakes on trees and traditional
Chinese architectural patterns, adding depth and uniqueness to the
design. To create contrast, muted yellows and beige are used for subtle
texture details, while gradient colors enhance the glowing effect,
making the character feel more dynamic and visually
engaging.
#Technical Feasibility Test
Besides sketching, we also started testing our designs in 3D using
Blender. Our team began modeling one of the characters, the mouse, as a
test for our workflow. After completing the model, Enyu attempted to UV
unwrap the mouse using the previous sketch as a texture reference. This
step allowed us to see how our painted texture style would look in 3D
and helped us refine our approach for future models.
1. UV Test
Fig 3.1 UV progress
2. 3D model
Fig 3.2 3D Model progress
3. Coin Texture Test
For the coin texture, I experimented to see which one would best suit
our project. I tested both gold and jade textures on the coin model.
Both looked great, but the jade texture has more potential for further
development. So we could refine it further and also explore using
these textures on other models in the project.
Fig 3.3 3D Model
Fig 3.4 Coin Wireframe
Fig 3.5 Texturing progress
Fig 3.6 Shador Editor
Fig 3.7 Gold Coin Texture Outcome
Fig 3.8 Jade Coin Texture Outcome
Next is the stylized texture testing. I decided to experiment with
outline textures on the models. Using Blender's shader editor, I applied
the texture to see how it would look. The result turned out well, and we
can use this texture for our project. However, one challenge is that
it's difficult to control where the outline appears, making it more
suitable for environment rendering and lighting rather than character
models.
Fig 4.1 Outline Style Progress
Fig 4.2 Outline Style turnaround
Fig 4.3 Paint texture and RGB texture test
Fig 4.4 Outline Style Outcome
Fig 4.5 Paint Texture Outcome
#Case Study
Besides focusing on our project, we also conducted case studies on
other games to analyze their art styles, technical approaches, and
gameplay mechanics. We explored how different games implement their
visual aesthetics, level design, and player interactions, helping us
refine our own project direction. By studying these games, we gained
insights into various techniques used in game development, such as
rendering methods, optimization for VR, and interactive design elements,
which could be applied to enhance our own game.
For my case study, I focused on Black Myth: Wukong, a game deeply
rooted in Chinese culture, which aligns closely with our project.
One of the most valuable takeaways from studying this game is how it
incorporates real-world locations into its design, sparking players' curiosity and encouraging cultural exploration.
This approach enhances immersion by allowing players to feel connected
to the rich history and beauty of traditional Chinese landscapes. By
analyzing how Black Myth: Wukong blends mythology, art direction, and
environmental storytelling, we can apply similar techniques to our
project, ensuring that our 12 Zodiac-themed world feels both authentic
and engaging.
#Final Outcome of Task 2
FEEDBACK
W5 FEEDBACK:
- @ Sketches: Very good.
- @ Gameplay stages: Three games is still a lot of work. Would recommend reducing to just one game. Focus on the ending of the whole game. Choose one you can execute with minimal effort (i.e. simple gameplay) but high quality. Your goal is not to sell the story but to sell the experience; therefore your stages don't have to be in order. Do something simple first, if you can execute it well you can try a harder stage.
- @ Final output: Have it be a game demo. Focus on the visuals. Your concern now is time.
- @ Mood board: The specific character references are very good. Good lighting and simple modelling. Achieve that standard.
- @ Game references (Alba & A Short Hike): Lighting a bit too flat, but the modelling is simple. You can reference the modelling.
- To-do: List out all the assets (i.e. how many trees, mountains, characters, etc.) you can make this sem. You'll need to make turnaround sheets for the characters whose stage you are doing. Show (at least) one finalised concept art in the style of the final product. You should also make a storyboard for the game's UI. Study the technical aspects of your output software (i.e. Unreal Engine).
*W5 FEEDBACK (MR KANNAN):*
- @ Selling point & final output: Relate your output (VR game) to your game topic (Chinese zodiac). You must have a solid selling point. What’s so special about VR? Why should the audience play a VR game to learn about zodiacs? Why choose this art style? Bring in the immersion into the VR. You don’t need to do a gameplay. Look at the benchmark tool and art style of professional games (e.g. Black Myth: Wukong, The Witness, and Hellblade: Senua’s Sacrifice). For example, Hellblade is based around sound.
- @ Gameplay: You can still do the other stages, but prioritise the two main stages. You can make one level big enough for all the games. You should make map exploration and interaction a priority. Instead of multiple characters, you can explore obstacles (e.g. traps, puzzles), maybe even a final boss (minus the fighting).
- @ Art direction & modelling:
- Try not to do low-poly, or else you will have to focus on the game design. High def would be better. You can try combining your current work with the old myths style (Mood Board). Your characters can be more humanoid. If you are doing simple, your designs still have to be appealing to the audience (e.g. Torchlight, Gigantic - High texture, painted-on style). Push the limit of the modelling and art.
- Texture is very important for simple styles. Determine which elements can be repeated to lower your workload (for environment and characters). Your models can be simple, but with highly painted textures. *Your game should be imbued with Chinese culture (i.e. symbols, typography, textures - e.g. *Black Myth: Wukong, The Monkey King Netflix; environment - e.g. Abominable, Wish Dragon); this is your Task 2 research and testing. This is storytelling and visual communication. Study first, make sure your art direction is solid before you do anything.**
THE END
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