Mesha Brückner – Page 2 – Michaela Bruckner BA Animation

Relevant Research

Assassin’c Creed syndicate factory style building

Anatomy

Death stranding aura

Sci-fi style objects

TODO

Techniques for workflow (e.g. which texture maps should I focus on applying to all of the models. Like normal and displacement)
Techniques for UVing: mention the smooth tool I found in UVing. Also, should the persons UV be camera-based to help make the suits patterns easier to paint on? Will that even make a difference when I am using Substance Painter (My thoughts: probably not). May be best to go for the traditional style of making a UV, the one that looks like you have skinned a human.
Find the best format to export the video from Unreal Engine. My thought: Quicktime/ Appleprores.
Lighting. In Maya or in Unreal? Test in Proof of concept.

A boy about 16 years of age, caucasian of European Slavic origins. His body is thin and lean. His face narrow long but rounded. Personality themes: Self-conscious, doesn’t mind being by himself, used to only having to rely on himself.

Initial colour scheme moodboard

Here, I extracted colours that I like from images I found that inspired me. I intended to use these for the character, but instead, I used the colour scheme for the object design.

Finding the right style of body shape. Visuals in mind drew me to a lean/ skinny boy. I want there to be a sci-fi style to the body also, like a sci-fi futuristic suit (see image above this one).

Actual character colour scheme

Body shape refined drawings from sketches.

Colour scheme experiments with the pattern.

Object Designs

Colour Scheme

Silhouettes

Refined Drawings

Final Designs

Test Pairings

The Game’s Title

Below are my gathered words to help me decide on a title for the game. Something to do with survival and the helplessness of a task, especially under the circumstances of having no limbs.

Single words: Suvival in terms of the individual.

‘Lapsed‘: No longer valid; expired.

‘Impotent‘: Unable to take effective action; helpless or powerless.

‘Weary‘: Feeling or showing extreme tiredness, especially as a result of excessive exertion.

‘Nonchalant‘: (of a person or manner) feeling or appearing casually calm and relaxed; not displaying anxiety, interest, or enthusiasm.

‘Catatonic‘: of or in an immobile or unresponsive stupor.

‘Catatonia‘ #1: a syndrome characterized by muscular rigidity and mental stupor.

‘Catatonia‘ #2: Or appearing to be in a daze or stupor; unresponsive.

‘Vitality‘ #1: capacity for survival or for the continuation of a meaningful or purposeful existence.

‘Vitality‘ #2: exuberant physical strength or mental vigor.

‘Capacity‘: actual or potential ability to perform, yield, or withstand.

‘Endure‘: to hold out against; sustain without impairment or yielding; undergo.

‘Tolerance‘: the act or capacity of enduring; endurance.

‘Resistance‘: the act or power of resisting, opposing, or withstanding.

‘Resist‘: withstand the action or effect of.

‘Lasting‘: continuing or enduring a long time; permanent; durable.

‘Withstand‘: to stand or hold out against; resist or oppose, especially successfully.

‘Counter‘ #1: Boxing= To give a return blow while parrying.”he countered with a left hook”.

‘Counter‘ #2: in the opposite direction or in opposition to.”his writing ran counter to the dominant trends of the decade”.

‘Parry‘: ward off (a weapon or attack) with a countermove.

‘Repel‘: drive or force (an attack or attacker) back or away.

‘Elude‘: escape from or avoid (a danger, enemy, or pursuer), typically in a skilful or cunning way.

‘Avert‘: to see coming and ward off.

‘Dodge: avoid (someone or something) by a sudden quick movement.

‘Evade‘: escape or avoid (someone or something), especially by guile or trickery.

Single Words: In terms of the situation.

‘Calamity‘: an event causing great and often sudden damage or distress; a disaster.

‘Deflect‘: cause (something) to change direction; turn aside from a straight course.

‘Tragedy‘: an event causing great suffering, destruction, and distress, such as a serious accident, crime, or natural catastrophe.

‘Devastating‘: highly destructive or damaging.

‘Crisis‘: a time of intense difficulty or danger.

‘Cataclysm‘: a large-scale and violent event in the natural world.

‘Misfortune‘: bad luck.

‘Ruin‘: the physical destruction or disintegration of something or the state of disintegrating or being destroyed.

‘Convulsion‘: a sudden, violent, irregular movement of the body, caused by involuntary contraction of muscles and associated especially with brain disorders such as epilepsy, the presence of certain toxins or other agents in the blood, or fever in children.

‘Upheaval‘: a violent or sudden change or disruption to something.

‘Accident‘: an unfortunate incident that happens unexpectedly and unintentionally, typically resulting in damage or injury.

‘Tribulation‘: a cause of great trouble or suffering.

‘Trouble‘: difficulty or problems.

‘Destructive‘: causing great and irreparable damage.

‘Pernicious‘: having a harmful effect, especially in a gradual or subtle way.

‘Detrimental‘: tending to cause harm.

‘Malevolent‘: having or showing a wish to do evil to others.

‘Malign‘: evil in nature or effect.

‘Malefic‘: causing harm or destruction, especially by supernatural means

‘Pestiferous‘: harbouring infection and disease.

Phrases

‘Keep at bay’

‘Hold Out Against’

‘Keep out’

‘Fend Off’

‘Ward Off’

Combinations – Name Ideas

Durable danger

Calamity Withstanding

Parry with Tragedy

Calamity Resistense

Deflect Tragedy

Lasting Nonchalance

Counter Catatonic

Beware of the Malign

Malign Resistance

Destructive Upheaval

Counter Upheaval

Catatonic Upheaval

Move! Lazy Bones

Move Out of the Way

Move! Lazy!

Move Lazy Limbs

Stuck in the Mud

Final Name (I think)

Calamity Withstanding

Sketches of Game Objects/ Plans

Within this page, I have disclosed my early, pre-sketched out ideas for the visuals of the project contents. Such as how items within my video game world will look etc. Here are all of my preproduction rough sketches. Designs that I can imagine after being refined towards the style that I choose best fits with the game.

The torso, I feel, wil be a focal point, one that helps define the rest of the character.

Practicing understanding the body movements with body proportions.

What kind of character do I want to portray. Do they even *have* a character or is it enough to have a basic plain looking model that doesn’d really have a charcter. Like with some mobile games where the character is just a silhouette. I think that this depends on the type of game I want to create. So with what I can imagine from the rest fo the game, the character should not be plain.

When deciding body types I imagine that young boy would be most interesting, the one I can imagine my character to be now.

Thinking about the types of objects I will have in my world before personalising them.
The post-it drawings are different hanging light sources. Bulbs from rope or cable, with and without metallic shades and maybe one that has been tied into the hang man’s rope. Within the rope task, there could be a few light bulbs within the collection of hanging rope, e.g. with these different variations.

What kind of styled designs wil fit best with the other obects?

Visual Inspiration

Here I have compiled all of the visual research that I will implement into the development of my preproduction work. These will help me plan and imagine how the 3D outcome will look. Overall, I would like quite an illustrated style, cartoony, fictional looking but somewhat realistic (like the benchmark below).

1.

This is the style of 3D model which will be my character benchmark, however, if I gain the time I would like to add a little textured detail, especially to the face. I will have to figure out what to do about the hair as I have not modelled hair before: helmet? Or just learn quickly https://www.artstation.com/artwork/DAL5A

2.

Benchmark environment:

https://www.artstation.com/artwork/lVdrge

Find more.

3.

These images are from the Art Station account Patrick Martens, the piece is called ‘Whiteout‘. https://www.artstation.com/artwork/8zX1m

I like this style of this artwork. It has been made in low poly with a minimalist colour scheme and yet the composition of the visuals do not feel as though they are lacking. It is basic enough for you to be able to get a feel for the world and still focus on the character, and what she is doing.

This is from the same game concept page. I like the feel of the bright red character against the monochromatic background.

4.

The next source of inspirational is more focussed on the feel I intend the audience to get from the environment. I do not want to simply maintain a haunted house mood but a room in which it’s eeriness makes you want to leave it. This is what I originally had in mind, however, I feel that I do not want to create a horror game. The best way that I can describe what I have in mind may be to use Hideo Kojima’s Death Stranding game (2020) as an example.

I love the sci-fi feel of the unknown within this game.

5.

The environment composition should look something like this:

The piece is called ‘Haunted Château‘ by the Art Station account Amber Marie Edwards. https://www.artstation.com/artwork/nQW8xe

This is particularly the mood that I had in mind: a low-key lit room with dark blue/ grey tones and light streams and other sources orange light. Here they used candles which I considered, but I think I will use hanging light bulbs as this will fit the warehouse-style better. And stray further away from the stereotypical/ cliche haunted house theme.

I am considering for the lighting to implement the ‘god ray/ light scattering’ add on within Maya which makes light rays visible as though it is dusty or foggy and brightly lit rather than only having the light make the object visible. I will experiment with the visuals of this at a later stage.
The outcome will look like the first image from the ‘Haunted Château’ model rather than the one above.

6.

While on the subject of making my audience want to leave the environment because of the eery feeling, there is no other game that I have found to give the audience this feeling that Hideo Kojima’s Silent Hills P.T. video game. My concept may be lacking considerably in comparison to Kojima’s game since I will not completely undergo the horror/ thriller theme with jump scares (amongst other things).

Low key lit, bland earthy colour scheme, limited light sources. Home environment- as though the sacred place the audience knows as ‘home’ has been tarnished/ infiltrated/ made impure/infested with things such as that foreboding figure.

Within this game, the player has a first person view (exaggerating the horror factor) and has to escape the building which consists literally of just a corridor and a few rooms. There are plenty of doors to move around between, one of which, most annoyingly, is the front door of the house (of course it is locked). At the end of the corridor is a door in which the player walks through and loops back to the door at the start of the corridor- the audience is literally trapped in this map. It’s a brilliant design! Most of the times you loop through the map it changed, objects are moved or smashed or there may be foreboding figures anywhere in there with you.

7.

I found this 3D model, by Dennis Wormgoor on Artstation ‘SHC Old Factory hall’, which best describes the environment I imagine. Mine, of course, will have low-key lighting and be more foreboding than this bright scene but the layout and style of architecture are very similar.

https://www.artstation.com/artwork/lVQLlG

Workflow Test

This will be a simple test of the workflow that I have decided upon. What that means is that I will try out the modelling and texturing process and also remind myself/teach myself new things about modelling and texturing. For example, I have never been a fan of texturing in Photoshop or creating UV’s or trying to match up the points on the UV’s location on the model etc. But I believe that if I implement and teach myself Substance Painter software then the process will be much more natural like fine art and I can also make the model look more realistic.

Not only this, I would like to make a mini mockup of my environment and test it in Unreal Engine in order to get a feel for the world I have designed, the placement of items, and the time duration which it will be suitable for the run-through video to last.

I keep thinking about two things. Firstly, how will the character be able to see the objects on the platforms above the hanging rope (while they are looking around but obviously not in play)? Is that even necessary since I will show all of the hazards on the plinths anyway? Secondly, I need more of a purpose and challenge for the opening the container task- since the task of simply avoiding the hazards is not exciting enough (even if this project is purely based on my games art side of it rather than the game’s design). This task is exciting enough for the hanging rope task but not for this one. I keep coming back to the idea of them not being able to be opened somehow. Having keys to open them is too obvious and quite boring. Maybe only 1st, 7th, and 15th can be opened, and once the character has tried to open a single container then the sequence changes, and then a different three will be able to open- such as the next ones along, or the second next ones along. This may not be obvious enough, however, there could be a sign with some indication as to the code. Otherwise, the player would probably try to open all of the many containers one-by-one until they found them all. This type of task would certainly not require any more input from the art side of things which suits me perfectly.

My workflow will begin by testing the workflow on sample objects, going through a process and see if it is successful. The workflow will contain: preproduction (mood boards/research, sketches and refined drawings) – modelling in Maya – test lighting in Maya (if necessary) – detailed work in Mudbox (in necessary) – export base model, displacement map and normal map (if necessary=test) into substance painter – export model, maps and Uvs into Unreal Engine – make environment composition – test everything in UnReal Engine.

Personal notes taken while testing workflow:

Maya

What are geometry files prior to transferring the model to Mudbox? Considering that I can increase the number of subdivisions in Mudbox, I will, for now (TBC at a later date), assume that the subdivisions do not matter until I have transferred the model to Mudbox.
The correct way to save/transfer UV: Export selection> save as FBX file.
Another way to import a UV into Mudbox is to connect the Mudbox and Maya models and then update each other if there is a successful connection.

Mudbox

Import UV with option ‘Position’. Check what these both options mean! (the other is ‘vertex ID’).
When I sculpt in Mudbox and increase subdivisions the mesh becomes more rounded. I would like to find a way to maintain the straight edges if possible. Only other way to do this, that I know of, is to use the flatten and pinch tool but this would only create uneven edges ade from my ‘brush strokes’. I can’t be exactly accurate with that.
Once imported check the UV view to see if it was successful.
During the workflow tests, many times the UV did not appear in the UV view in Mudbox…
(Do I even need to transfer the UVs to Mudbox if I am going to be painting in Substance?) (Short answer = No).
Once sculpting is completed > Export the lowest level model as well as a higher subdivision level map as a …. (no sure, double-check. I believe you export as a normal map then apply that map to the Substance model later..?)
Maps necessary to export and transfer are (I believe): Displacement map (to alter the shape of the model) and the normal map (for altered /added texture detail).
“For texture maps, click the browse icon…

beside Base File Name and enter a file name in the Save As window that appears” Way to save file otherwise you can’t export. I didn’t notice this at first, easily missed.

Substance Painter

In Substance open a new file- select the model in the browser- select the template called ‘PBR-Metalic roughness (allegorithmic) – then under UDIM’s press ‘add’ and select displacement map file.
I need to use an export of the base model from Mudbox not the one from Maya, otherwise the displacement map doesn’t apply in Substance. (Although I have an alternative suspicion as to why this happened).
First I need to bake the mesh maps (Also need to find out what this means and what exactly is the purpose of baking anyway??). Try output size 2K.

High res vs low resolution

https://www.youtube.com/watch?v=t732fDe1_wo

Within this Youtube tutorial about ‘Map Extraction in Mudbox’ by the Autodesk explaining the process of creating maps within Mudbox is explained. Here I learned that a displacement map would help to alter the shape of the model (e.g. the solouettewould be considerably different in comparison to using a normal map, or others). The process is Maps (top menu)> Extract texture maps> New opperation> Name and select Displacement map> select the same model with the level you want (the first being with low resolution, either level 0 or 1, the second being about level 5)> Leave subdivision option on.

Workflow Test

Testing metal materials in Substance. (Part from the rim, it is something like black rubber).

Moodboard

General Moodboard

Character Moodboard

I imagine the body to be bear but look like a natural sci-fi suit with a pale colour scheme. Some of these images were chosen simply for the style and aesthetics such as the second image on the fourth row. I imagine a lean teen boy character such as the image on the fourth image on the third row and the third image on the fourth row. I think that the suit design will be something that leaves impressions on the body but not as heavily as mecha, for example. Such as the second and fourth images on the second row.

Final Major Project Game Design Document, Concept and Proposal

Games Design Document

Game name: [Calamity Withstanding]

Logline

Abandoned and limbless, he will overcome anything to retrieve them.

Synapsis

A sci-fi survival indie video game that focusses on the limitations and possibilities of having detachable limbs. Find new ways to move what is left of your body after Drystan’s limbs were stolen and overcome obstacles and dangers to retrieve them. First, you must implement the synthetic limbs you locate and escape the warehouse where you first woke up and eventually you will reach the thief and be whole again.

Target Audience	Target Platforms
– Indie game fans – Age 8-40 – Non-specific gender	– Mobile – Windows – PCSteam – Mac PC

Story

In a futuristic world where you can choose to sell your limbs and become one of the ‘detached’, someone stole all Drystan’s (Welsh name meaning full of sorrow) limbs leaving him with only his head, neck and torso. He is left unconscious, revengeful, and determined to take back what is his, despite the disadvantage he now will face. His thief has made the path to follow him difficult and full of obstacles. Another strong motivation to reach his enemy is that within this world the crime/tragedy that befell him is common. Low-class people are often taken advantage of in this way, Drystan wants to prevent this from happening to anyone else.

Description of gameplay

The objective of the game is to overcome dangers within the tasks and progress to the next level. To do this, the player must collect required items hidden within the warehouse and within the tasks. In doing this you will be able to attach weapons, a shield, or synthetic limbs, allowing you to move better and complete certain tasks. The audience is supposed to feel as though this is all unfair on Drystan by the Antagonist’s sordid act. To emphasis this, the antagonist leaves writing on the wall for Drystan saying things like: “Thanks for your body!” and Good luck finding me now”.

Setting and Culture

Interior warehouse: dark and gloomy, dusty (like Assassin’s Creed: Syndicate factories but more metal than wood). Brick walls with metal frame and pillars for structure. The only natural light source is the skylights. The doors are chained shut. There is a non-natural light source: hanging light bulbs. The floor will either be brown old wooden floorboards or bear concrete.

Tasks

1st task: Set of Cupboards

A few rows of locked cupboards are before you. You must obtain useful contents and avoid their dangers. They won’t open that easily and some may not contain anything. They will only open in a sequence, for example, the 5^th, 9^th and 12^th cupboard. This sequence will change after you have opened one.

2nd task: Hanging Rope

Numerous high up hanging ropes are collected in a group from a platform above. The floor beneath these ropes is raised with a few stairs (so you need at least a leg and arm to get to the task). The collectable items and dangers on the platform are not visible to the player. You must have collected enough limbs to be able to reach and pull even the heaviest of the ropes (range of different limbs required to pull at different heights and weights). There may be dangers such as falling heavy objects but there may also be items that will be useful to you such as more limbs, weapons, or a shield to protect yourself from dangers. Some ropes may be tied to the floor and require a blade to be cut and pulled.

3rd task/ exit: Lift and scale

The point of escape requires the player to have collected every object, that you are able to pick up from the environment and place them on a scale. Release the lever before this point and you will forfeit your chance at escape since the lift will not be raised height enough without enough weight. This may require you to sacrifice some of your own attached body parts (if you have destroyed too many in the tasks then you will fail).

Rules of gameplay:

The player can attach and a number of limbs to any attachable place on their body.
The attachable places are only where the legs and arms would go.
The player can attach an implement (sickle or shield) anywhere on the end of the character’s body (in place of hand or foot)
If a grenade is about to go off, then the clip will fly in the general player’s direction as a warning. If you do not have enough limbs to move fast enough you will die or destroy limbs.
If a heavy object falls on you, you will die or perhaps only destroy limbs.
You must be tall enough (have enough limbs attached to be able to pull and grab objects such as the cupboards and rope).
You can move if you have only one limb attached.
You can still walk with no hands or feet.
The more limbs in the right places you have the faster you will move.
An extra-long arm, for example, will trail behind the body. So, if a reaction time is too slow it will be blown off by a grenade.

Objects list to model:

Sickle
Grenade
Ropes
Platforms (and stairs) beneath and above ropes
Warehouse
Warehouse doors
Lock and chain on warehouse doors.
1-3 differently positioned models with a different number of limbs.
Cupboards and the thing holding the cupboards up.
Hanging light bulbs
Shield (optional)
Lift/scale and pully system

Initial concept ideas

What will my end product be:

A fully modelled and textured character.
Fully modelled and textured hazards/ other objects that the environment will contain.
Fully modelled and textured environment.
Each of these^ will be displayed in a run-through video lasting about 3-5 minutes (will test timing with proof of concept. Within this video, I will have placed all of my models on plinths and tasks in their place, within the environment. These will be transferred into the Unreal Engine, and I will have a default human model exploring everything as though it were the player. Look but don’t touch is the rule, as making the tasks interactive would be a whole task altogether, however, I may apply some animations to the tasks objects, such influencing the rope with the wind so that it sways slightly.