Week 4 – Week 6 | 25/02/25 – 16/03/25
Emily Soh Ching-Ling | 0359478
Bachelor of Design (Honours) in Creative Media
Major Project I | Section 01 | PRJ64904
Task 2 — Design Proposition
TABLE OF CONTENTS
1.0 INSTRUCTIONS
2.0 TASK 2 — DESIGN PROPOSITION
Instructions:
- You are tasked to build upon and refine your initial concept into a comprehensive design proposition.
- Design Exploration:
- Mood boards and reference studies.
- Character and environment concept art with annotations.
- Project Planning & Management:
- Production timeline and task breakdown.
- Risk assessment and contingency plan.
- Design & Technical Research:
- Case study analysis of industry projects and project pipelines.
- Technical breakdown of software, workflow, and feasibility.
- Submission (PDF):
- Report on research, design progress, and project plan.
- Concept art of characters and environment.
2.1 REASSESSMENT & UPDATED STORYLINE
We had a discussion to reassess the storyline. After the Task 1 presentation, we were told that nine minigames would be too much work to execute well, given the short deadline and our inexperience. We were advised instead to:
- Focus on quality over quantity.
- Narrow down the gameplay and map.
- Make the map more explorable and interactable.
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| Figure 2.1-1: Brainstorming Draft — Player Interaction & Environment Ideas, Week 5 (09/03/25) |
We had a brainstorming session to rework our concept. The draft is a bit all over the place, but to summarise the changes made:
- The game will consist of two minigames instead of the original nine (more on this later).
- The map will be a non-linear open world, i.e. the player has the autonomy to freely explore the map and choose how they approach the game and its objectives.
- Instead of six smaller islands, the map now consists of three islands:
- The starting island (left), where the player is introduced to the game and their goal.
- The gameplay island (middle), where the player can explore and meet the zodiac signs.
- The ending island (right), where the player hands over the collected coins and completes the game.
- The gameplay island will be split into roughly three areas:
- A large, forested area with a river (where Game #1 takes place).
- A village connected to the river (where part of Game #2 takes place).
- A bamboo grove leading to the ending island (where part of Game #2 takes place).
Figure 2.1-2: Narrowed-Down Minigames, Week 5 (09/03/25)
We narrowed down the nine minigames to two:
- Game #1 (Monkey, Goat, and Rooster).
- Game #2 (Rat and Ox).
We chose these two games to further build on because there is potential to make the initial concepts even more interactive and to incentivise the player to explore the map. The general stories in both games remain largely the same, however, we have changed the objectives to be less repetitive (originally both steering quests; i.e. player rows the boat, player guides the Ox's direction).
Updated Game #1
This game will focus more on aiding the Monkey, Goat, and Rooster after their boat crash. The player hears yelling from the Rooster. When interacted with, it explains that the boat is broken and the Goat has been injured.
The Player's Objectives:
- Find a bandage and three pieces of wood, which are scattered across the map which is currently accessible to the player.
- Heal the Goat using the bandage.
- Rebuild the boat using the wood.
After the objectives are completed, a short animation of the player boating down the river with the three zodiac signs will play. The player disembarks the boat at the village dock. The Monkey, Goat, and Rooster reward the player by giving them three gold coins before continuing the race.
Updated Game #2
At the village, the player hears worried muttering from a nearby building. When approached, the Rat informs the player that it has lost its friend, the Ox, and needs help finding it. Upon accepting the request, the Rat thanks the player with a gold coin.
The Player's Objective: Find the Ox (the Ox is not at the village, however contextual clues will point the player towards the bamboo forest adjacent to the village).
The player finds the Ox by the bamboo forest. It has gotten stuck among the bamboo and needs help escaping.
The Player's Objective: Free the Ox.
Once freed, the Ox thanks the player by giving them a gold coin. The Rat jumps on the Ox's back, and the two continue the race.
2.2 RESEARCH
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| Figure 2.2-1: Updated Mood Board — Environment, Week 5 (09/03/25) |
2.3 ENVIRONMENT DESIGN
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| Figure 2.3-1: Sketch, Week 6 (12/03/25) |
Map-drawing has been something I've been meaning to pick up but never had the time to until now.
Working out paths and item pickup locations was challenging as I was trying to make sure the geography made sense and looked interesting (i.e. not all flat land) while keeping in mind the obstacles (e.g. broken bridges). Looking at D&D maps helped with the art block and gave me an idea of how to stylise geographical features.
I based the river/lake system on China's Five Flower Lake and Wucai Pool. Before, I had struggled with creating boundaries for the village without over-relying on vegetation. By turning the village into a cluster of small islands, the player will still have the freedom to wander as they please but within a set guideline.
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| Figure 2.3-2: Initial Concept Art, Week 6 (14/03/25) *I will keep the descriptions here brief. Detailed annotations are in the PDF below. |
Floor Engravings
The starting island and ending island have a lotus and a Later Heaven Bagua engraved into the floor respectively.
Lotus flowers symbolise rebirth and enlightenment, similar to how the player is put in this world to observe the zodiac signs. In Feng Shui, the Later Heaven Bagua represents the order of life after the creation of the material world. Seeing as the zodiac was invented as a way to tell time, I find it fitting that the player ends the game by bringing proof of order (AKA the gold coins) to the altar.
Architecture
The Chinese Zodiac was first conceptualised during the Han dynasty. I based the architecture around that time period.
Vegetation
The vegetation is based on those commonly found in China, such as Chinese elm (shaped like bonsai), willow, and bamboo.
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| Figure 2.3-3: Final Concept Art, Week 6 (15/03/25) |
Figure 2.3-4: Final Concept Art (With Annotations), Week 6 (16/03/25)
More Trees
My groupmates requested more trees and buildings. They wanted me to add sakura trees to give the map a pop of colour, however, most people do not think of Chinese culture when they see sakura trees, as sakuras are associated with Japan. Instead, I added ginkgo trees (the ones with yellow leaves) as they are native to China and commonly planted near temples, symbolising longevity, peace, and protection.
I also figured that since ginkgo leaves are used in traditional Chinese medicine to heal a variety of ailments, the item the player picks up in the gazebo (later used to heal the Goat) could be ginkgo leaves.
Architecture (Again)
Trees aside, I may also change the colouration of the wooden buildings to a darker, reddish tone during production to make them stand out against the yellow ginkgo leaves. I will keep the current yellowish wood for now.
2.4 FINAL SUBMISSION
Figure 2.4-1: Task 2 — Documentation (Final Submission), Week 6 (16/03/25)
3.0 FEEDBACK
3.1 WEEK 5
Specific Feedback (Mr Kamal):
- @ Sketches: Very good.
- @ Gameplay: 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.
- @ Art direction 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).
Specific 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 the 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. Your models can be simple, but with highly painted textures. Determine which elements can be repeated to lower your workload (for environment and characters). **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.
- To-do:
- 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.
3.2 WEEK 6
Specific Feedback (Mr Kamal):
- @ Environment references (The Witness): This is better than previous refs. You can use free models of similar styles for some of the assets.
- @ Animal concept art (Ox and Rat): The yellow of the Ox looks like fire. You can make it more orange. For the gold element animals, make it more gold. Your modelling would have to be all triangles so that the output will be higher poly.
- @ Art direction: The painted textures will take a lot of time. In Blender, some shaders can imitate a painted style. Can use Substance Painter for the texture painting instead of Blender.
- @ Gameplay: The obstacles should be things that are in the way of what the player is trying to achieve.
- To-do: Show gameplay interactions. Finalise concept art.
4.0 REFLECTION
The more feedback we receive, the more confused I get.🫠 Since we consulted with both Mr Kamal and Mr Kannan, we sometimes get two contradictory sets of feedback, especially regarding the visual direction. Given the tight timeframe, mountain of expectations, opinions, and workload, it's hard to know what direction to follow.
That said, I'm grateful that Mr Kannan made time for our group even though we are technically not under his supervision. We'll need all the help we can get especially on the technical side, considering none of us are in game design.
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