UCL Digital Media: Production Portfolio by Minghao Guo

MA DIGITAL MEDIA: PRODUCTION Application Number: 23224049

PORTFOLIO

MA DMP

UCL

IOE CHALLENGE START

DIGITAL MEDIA: PRODUCTION YEAR

MINGHAO GUO

2023-2024

Project Brief Desertification has been a major environmental issue in many countries, and fighting desertification is an arduous journey. However, with technological advancements, our desertification control methods are rapidly developing.

In this game, you take on the role of an environmentalist and tackle the challenge of desertification. It would be best if you prevented desertification by preventing overuse and destruction of the land through rational land use and green production methods.

You will face various challenges and puzzles in the game, such as drought, desertification, land degradation, and vegetation destruction. Through exploration and research, you will need to find practical solutions and constantly improve your skills and abilities to become a true conservationist, protecting the ecology of desert areas and creating an oasis in the middle. We inherit the achievements of our forefathers, bearing great responsibility, stepping into this desert to protect the home we depend on for survival. 「 Welcome to Operation Oasis 」

RESEARCH AND BACKGROUND Desertification data Background of the composition Land, an essential part of our human civilization, is the cornerstone of our survival and development. Even though land plays a vital role in our lives, we often need to realize its value and significance. We often neglect the conservation and management of land, leading to serious environmental problems such as land degradation and desertification, which pose a significant threat to our survival and development.

Around one billion people are affected by desertification worldwide, with the fastest growth in the number of people living in degraded areas in Africa and Asia within 10 years.

For Example:

East Asia & Pacific Europe & Central Asia

2.6%

South Asia Middle East & North Africa

At present, land degradation and desertification are increasing. The world has reached a moment when we must reconcile these differences and rethink how we plan, use, and manage land. To address the challenge of desertification, we need to find a sustainable solution. I came up with the idea of creating a game on the theme of combating desertification, in which players explore how to protect and restore land that has been attacked by desertification, learn how to plan, use and manage land scientifically, and how to find a balance between human activities and nature conservation.

Sub-Saharan Africa

China's desertified land area has exceeded 260,000 square kilometers, equivalent to 2.6 percent of the country’s total land area.

Lain America & Caribbean

The impact of desertification According to the ‘United Nations Environment Program,’ we know.： Asia

40 40% desertification

Europe

Africa

1980

2020

20 20% tons of grain lost

Over the last few decades, desertification has been most severe in Asia and Africa. And so far, we have lost 1/8 of our arable land.

Global distribution of dryland subtypes based on the aridity index d ri d col r- a pe y h

a ri

d id id id iar hum hum m se sub dry

RESEARCH AND BACKGROUND Drought and climate change

Pollution and destruction

Motivation

Releases of water pollutants and gross value added for industry

I thought of using the game as a medium to simulate the process of desertification and its impact on the environment, thus giving players a deeper understanding of the seriousness and urgency of the problem.

Desertification caused by drought and climate change accounts for 30% to 35% of all causes of desertification. Increased deficits lead to a steady loss of water from the land, the gradual withering of vegetation, the gradual impoverishment of the soil, and, eventually, the formation of desert areas.

In addition, the game can provide methods and strategies to address desertification, helping players to learn and understand how to protect and restore desertified areas of land for sustainable development.

Releases of water pollutants and gross value added for industry

Game introduction

The industrial production process produces many pollutants, such as exhaust gas, wastewater, and solid waste, which can directly or indirectly harm the land, vegetation, and water resources and exacerbate the desertification of the land.

Population growth and poverty Irrational land use

Growing Desert Plants

Human Population Growth and Poor People billion

Releases of water pollutants and gross value added for industry

Fighting Against Desertification

Development Technologies

8 l Theme: Desertification Control

4

1950

To transform the region affected by desertification into an oasis by planting trees, developing technologies, etc.

2020

Population growth and poverty can lead to irrational use of land. It accounts for 10% to 15% of total desertification.

l Genre: 3D Single-Player Real-Time Strategic Simulation The theme of afforestation naturally fits with the gameplay of simulation games, and real-time strategy is suitable for simulating the challenges of growing plants in the desert.

Conclusion According to statistics, desertification caused by unreasonable land use accounts for about 35% of the total causes of desertification, which is a considerable proportion.

Therefore, to avoid the occurrence and further expansion of desertification, we need to take measures to improve land use practices.

Through the above analysis, I believe that land desertification is a huge challenge for mankind and that the protection of land requires the participation of all mankind. As a designer, I want to make more people aware of the seriousness of desertification through interactive media.

l Objectives: Knowledge and Experience To interactively educate the players about desertification and its control methods, promote environmental awareness and push for positive changes.

DEVELOPMENT PROCESS Technologies functional design For the UI design, we combined green elements with a sci-fi style to emphasize the importance of technological development. When designing the tech tree, I needed to think about combining the icons rdevelopmentequired by the game plan and the sequence of unlocking game features with the shape of the tech tree. So, I took reference from the Pngtree pattern, which looks like a circuit board of parts, and combined it with the tree’s shape; it gives the tree a more technical look.

The technology function is divided into 34 sections in the game, each corresponding to a technology for combating desertification. The technology sections are unlocked in a tree-like growth pattern, so players must unlock the primary technology to continue opening the more advanced ones. As the game gets progressively more difficult, players must choose the right plants and technologies to operate according to their planting strategy, growing plants and developing technologies in the fastest possible time.

DEVELOPMENT PROCESS Icon Development

Based on the need for icons for the tech tree functions, I designed 34 icons corresponding to the various techs in the tech tree that need to be unlocked by the player.

DEVELOPMENT PROCESS

Gameplay

Game flow Automation

Experience

Access

Planting

Upgrade Use

Techniques Unlock

Learn to Plant

Game Start

Item

Purchase Purchase

Seedling Technology

Funding Accelerated access

Access

Growth

Manual operation

Increase

Irrigation Automation

Sand-fixing plants

Wood

Learning

Provide

Growth

Ecological values

Soil Water

Harvesting

Dynamic Accumulation Automation

Reservoirs

Cumulative Ecology

Interaction experience design

Hard Achievemen t

Mature Growth

Resources Plants

Difficulty Factor

Learning Period: During the initial learning period, players need to figure out the uses of different plant species in desertification and grasp the gameplay.

Growth Period: During the growth phase, after the player has mastered the basic gameplay, the game will also unlock technological features, and the difficulty will start to rise.

Difficult period: During the difficult period, various disasters will appear to disturb the player and may lead to the deterioration of the environment.

Result

Ecological balance

Maintenance

Eco-Rating

Generate

Prerequisites

Long-term growth

Buffering mechanisms

Long-term growth

Achievement Period: During the achievement period, Scene

the oasis created in the desert against all odds gives the player a sense of achievement. Playing the entire game provides the player with a complete understanding and appreciation of the difficulties of combating desertification.

Our games are not just designed for environmentalists; they provide a unique emotional experience for all players, making them more passionate about nature and learning how to protect our land.

DEVELOPMENT PROCESS

Game Function — Technologies

Game Main Interface Date

Eco Coins Green Index

Speed Time Stop

Collection Achievement

Water Flow Desert Index

Help

Soil Salinity Menu

To reach more audiences, the basic game play is simple and easy to learn. I designed a clear UI showing all important information and the tutorial is easy to find. I also set a low initial difficulty level so that even those who have never played a simulation game can still get started easily. I hope that this will allow more players to experience our game and gain knowledge about environmental protection.

Game Function — Plants and Infrastructure

Plantation: One of the initial features, the player can choose one of the unlocked plants to plant; each type of plant and its role is different, and the player has to choose according to the game situation..

Collection: Plants, areas, and disasters unlocked during the game are recorded in the collection catalog. In addition, information on what has been unlocked will be displayed in the catalog so players can learn more about combating desertification.

Research: After completing the infrastructure construction, the research function will be unlocked, and the player can use eco coins to unlock features on the technology tree. Players must develop various technologies to face the impending disaster as the game ramps up in difficulty.

DEVELOPMENT PROCESS

Game Function — Visual Effect

Game Function — Plant Status

Different disaster types have different visual effects in the environment and will return to normal when the disaster is over. We want players to be able to judge the type of disaster and make the best decisions by the environmental effects of the map.

Example: 6 States of Poplars Eupharalica n After planting a seedling, we need to wait for them to reach adulthood.

Seedling-Healthy

Seedling-Healthy

Seedling-Healthy

Seedling-Healthy

Seedling-Healthy

Seedling-Healthy

n Healthy adult plants can reduce the Desertification Index, increase the Green Index, and yield Eco Coins. n Plants may dehydrate or perish due to insufficient Water Flow, high Desertification Index, high Soil Salinity, Natural Disasters, etc. Dead plants cannot restore health.

Normal

Cold Stream

Heat Wave

Sandstorm

Flooding

Animation Test

Game Function — Difficulties At a certain point in the game, a disaster will occur causing the plant to die. There are two stages of disaster alert, Disaster Warning and Disaster Strikes.

Disaster Warning: A disaster warning will appear

Disaster Strikes: At the end of the countdown to

sometime before the impending disaster so players can prepare.

the disaster warning, the disaster will come and have a very negative impact on the plants.

During the testing phase, it was done by two other members of the team and me. First, we imported the plant animations and the scene effects into Unity for testing. Then, the member in charge of the programming part fixed the bugs and finished the whole scene-testing part of the game.

GAME SCREENSHOT

Stage 3: When the player makes a mistake, the plant will be marked in

Stage 1: At the beginning of the game, the player has to grow bare plants

Stage 2: After completing the technical facilities, more and more plant

in the desert and collect eco coins to unlock other infrastructure. A report at the end of each year will provide eco coins based on environmental values.

types are unlocked, as well as technologies. At this stage, players need to use the eco coins they already have to allocate resources wisely.

red to remind the player that it needs to be done correctly, otherwise, it will result in the death of the plant and the loss of environmental value.

Stage 4: When a disaster strikes, the plants are also marked, and a red

Stage 5: Once the facilities are in place, normal disasters can no longer

marker indicates that the plant will die in the disaster and the player needs to stop the damage in time.

hurt the plants, and players will need to upgrade their technology to unlock more plants.

Stage 6: When all technology upgrades are complete, all plants and game features are unlocked, and the player can grow freely on the map. And be able to explore the game's hidden achievements.

GAME ENVIRONMENT

Live demo of the game: https://youtu.be/QWFvbhl2PO8

Project Brief This project aims to design a VR experience that can be used in the water, allowing users to simulate the experience of being in the ocean by wearing a VR device. The experience will include visual, sound, and tactile effects underwater to provide a realistic understanding of being in the sea. And create an environment that enables people to physically work out by performing aerobic exercises while engaging in a multimedia entertainment experience.

n Provides a realistic underwater experience, including visual, sound, and tactile effects n Enables users to simulate the experience of exploring and interacting underwater n Provide a safe and comfortable environment for users to experience n Design practical and aesthetically pleasing assistive devices to help make the user experience better n Engages the user's interest and encourages them to explore the wonders of the ocean

In the underwater VR project, users can control the progress of the game through various interactive methods, such as the use of gestures, head movements, and body movements. The project can also combine body vibrations and sensory stimuli such as scents and music to give the user a more realistic feeling of being in the ocean.

illustration by me

RESEARCH BACKGROUND Inspiration As virtual reality technology matures, the information experience will no longer be limited to traditional forms. This means that different forms of artwork can be presented in a broader range of media. The viewer will also be able to have a better viewing experience.

Concept Design

Mood Board

After being inspired, I decided to attempt to step out of my comfort zone.

Using immersive experiences as a starting point, I began to think about how virtual reality could enhance people's sensory experiences in games or films.

I designed the scenery concerning the art style of RAFT, which is bright, clear, detailed, and has a distinctive hand-drawn feel. This style is ideal for creating a game scene with an atmosphere of adventure and adventure.

Immersive Experience

During an art exhibition, I realized that visual communication could be achieved through an enhanced visual sensory experience combined with sound effects. Based on this, the equipment and medium through which the information is experienced are also worth exploring.

Virtual Real

Images were taken at Visual Communication Exhibition In this exhibition, some traditional masterpieces of historical interest have a more substantial visual impact on the large screen and the surrounding view. And when these images become dynamic, they overturn my perception of traditional artworks. So if I could create a medium that enhanced the viewer’s immersive experience, people would be able to feel better and understand what the artist was trying to convey in work.

Media Software

Media Hardware

Interactive games

Running on

Interactive equipment

Testing and Interaction

VR Experience Cabin

Game scenes

Screenshots from RAFT I wanted to make an immersive game with a marine theme, combining scenography and interaction design. Furthermore, to give the player an excellent immersive experience, I intend to design a virtual reality experience pod on top of the VR device to make the player-player tactile experience enhanced on top of the visual senses.

After this, I also plan to create a game scene that allows for activity and interaction in a first view. The modeling of the game assets was first completed in MAYA and then imported into Unreal Engine for testing. I will gradually refine the concept design as I have enough time to do so.

Images were taken at Visual Communication Exhibition

As a game with a theme of adventure and survival, RAFT's game scenario is a great success. The game scenario is centered around a floating raft where the player must find resources, build facilities and survive in the surrounding marine environment.

Conclusion In subsequent scenario design and production, I wanted to build on the art style of RAFT to make my scenarios more stylized and to add a sense of realism and immersion to the game.

DEVELOPMENT PROCESS Initial design sketch

Sketch version I

At the beginning of the project, my idea was to build a three-in-one VR experience capsule, which consisted of three components: a multiplayer VR interactive experience room, a single-player VR experience room, and an underwater VR experience room.

When designing the first version of the solution, I combined a sphere with a rectangular body. The sphere part of the underwater VR experience capsule is used to load the experience participant, and the rectangular part is the housing to protect the device and load the electronics.

Sketch version II

Critical thinking process

When designing the second version of the scheme, the design of the exterior and the savings in production costs were considered. I have made improvements in the creation of the form. The area of the housing section was reduced.

Device compatibility: As three different VR experience devices need to be compatible, complex technical integration is required, which may increase the failure rate of the devices.

Quality of experience may be compromised: The integration of three different VR experience modalities within a single chamber may affect the quality of the experience. For example, multiplayer and single-player experiences may interfere with each other.

Larger space required: To implement three different VR experiences, a large enough area is needed to accommodate the various devices, which may limit the space available in the chamber and may not be optimal for some venues with limited space.

After thinking about the above, I eventually switched the design of the three-in-one VR experience room to an underwater VR experience room.

In the subsequent design, it also needs to be considered that the chamber will carry people and safety and stability are issues that must be considered. Make sure that the cabin is structurally solid and durable and that it meets all safety standards and regulations to avoid any accidents.

DEVELOPMENT PROCESS

Size

Sketch version III

Cabin Shape Development I

II

III

IV

In the beginning, I planned to use a sphere as the shape of the chamber, but in the course of subsequent reflection, I summarized the advantages and disadvantages and then analyzed them.

The size of the chamber needs to be determined by the size of the equipment, the number of users, and the scenario in which it will be used. The size of the rectangular chamber needs to take into account the space for the equipment and users to move around, as well as safety issues such as preventing collisions between the equipment and users.

Advantages n Provides a better view: Using glass spheres provides a broader perspective and better visuals, allowing the user to feel like they are actually in the ocean.

n Increases user engagement: Using glass spheres can increase user engagement and immersion as they allow users to observe better and explore the creatures and landscapes of the marine world.

n Increases visual appeal: Using glass spheres can provide a unique look and visual appeal to the chamber that may attract more user engagement.

Ultimately, I decided to set the cabin’s interior at 2.6m. The 2.6m height provides a comfortable space for movement and more up and down motion, allowing the user to move more freely and comfortably within the cabin.

Disadvantages n Susceptible to wear and tear: Using glass spheres may be more susceptible to wear and tear and damage, which may require regular maintenance and replacement to ensure the integrity and safety of the chamber.

V

VI

Water circulation systems

n Increased cost and complexity: Using glass spheres increases the cost and complexity of the chamber as more materials and engineering are required.

Water in

n Safety hazards: If not designed and manufactured correctly, using glass spheres can increase safety hazards as they can break or explode and cause injury to the user.

After considering factors such as space utilization, safety, and user experience, I used a predominantly rectangular design for the subsequent design of the VR experience room in the water.

Water out

Of these six sketch options, I chose the fifth one as the basis for the exterior design. It was refined and improved during the subsequent development process.

I have designed a basic water circulation system that enables water circulation inside the chamber utilizing two external pipes.

DEVELOPMENT PROCESS Material The material of the rectangular chamber needs to take into account its load-bearing capacity, water resistance and sound insulation. The shell and support structure of the chamber need to be made of materials that are strong enough to ensure stability and safety.

Features Cabin Entrance

Ladder interface

LED Lamp Silicone Seals VR Displays

Display Screen Polycarbonate sheet Polycarbonate sheets have good impact and weather resistance, while their high transparency allows them to be used for the transparent parts of compartments and some structural elements.

Interactive Screens

Exhaust outlet

Emergency button

Power Socket Water pipe sockets

Acrylic sheet Acrylic panels are durable, transparent, and water-resistant and can be used to create the housing of the cabin.

Motion tracking

Outcome

Stainless steel plate Stainless steel sheets are highly resistant to corrosion and water, as well as being strong and durable, and can be used to make structural frames for cabins.

Aluminum panel Aluminum alloys are lightweight, strong, and corrosion-resistant, making them suitable for cabin frames and support structures.

However, the cost of aluminum alloys is relatively high.

Equipment: Vive Tracker 3.0

Carbon fiber

Players only need four trackers on their limbs to achieve basic motion capture in the water, and more trackers on their waist and shoulders are needed for more accurate motion tracking.

Carbon fiber is lightweight, strong, and corrosion-resistant, making it suitable for use in the fabrication of cabin structures.

However, carbon fiber is costly and relatively difficult to produce.

HTC Vive Tracker 3.0 is a high-precision motion tracker that can be used with the HTC Vive and other VR headsets for tracking and feedback of body movements.

DEVELOPMENT PROCESS

UE Scene Construction

VR Test

Concept Modeling

I modeled the other model assets similarly and imported them into Unreal Engine to create the scene.

I modeled the other model assets similarly and imported them into Unreal Engine to create the scene.

After completing the scene, I tried to run it using VR. First, I loaded the VR plugin on Unreal Engine, which allows me to move around the stage in the first view by controlling the VR grip.

I used a concept illustration of a scene I designed in my second year at university and optimized it. After this, I used MAYA for modeling, then Subspainter for coloring and model mapping.

I then used rock assets to build the island terrain in the scene based on the original landscape. A n d I s a v e d t h e co n s t r uct e d landscape as a blueprint.

Once I had finished building the island base, I started placing plant assets on the island and imported the marine terrain plugins and textures into the scene for testing.

Once I had finished building the island base, I started placing plant assets on the island and imported the marine terrain plugins and textures into the scene for testing.

Finally, I imported my building model into the scene, set up the materials and textures, and used the lighting effects and the physics engine plug-in for the secondary rendering.

My roommate and I then attempted to project the first-view content in VR and Unreal Engine. Although there was a lag in the screen when testing, it was pleasing to see that this game scene could load and function correctly on the VR device.

ENVIRONMENT

ENVIRONMENT

Rendering video and live recording video link: https://youtu.be/PoB7PXL0kqE

Project Brief I explore the relationship between humans and marine life in the Tear of the Sea animation. At the beginning of the spirit, the whale rushes out of the water and leaps back into the sea when the water is already littered with rubbish.

The hammerhead shark encounters a hunt and falls to the bottom of the sea.

The protagonist prays for the ocean to return to its former peace and tranquility, but all she gets in response is the continuous wailing of the marine life. Ultimately, she chooses to perish with the ocean when all the life cares for the marine environment and thinks about how to co-exist amicably with the planet’s creatures and protect the world we share.

Through this work, I aim to express the need for humanity to take care of the marine environment and to think about how to co-exist amicably with the creatures of the planet and protect the world we share.

BACKGROUND & RESEARCH Marine Litter Vortex

In 1960, the number of seabirds with plastic products in their stomachs was less than 5% of the world's population.

East Garbage Area

West Garbage Area

North Atlantic Garbage Vortex

North Pacific Garbage Vortex South Atlantic Garbage Vortex

North Atlantic Garbage Vortex

9% Only 9% of plastic waste is recycled

79% of plastic waste is still in the marine environment

It is estimated that in 2050, 99% of all seabird species will have eaten plastic.

Plastic waste decomposition

South Pacific Garbage Vortex

Unlike conventional plastic waste, marine degraded plastics can be difficult to detect because they are often small enough to be mixed into the sea by marine life and wind and waves. In addition, marine degradable plastics are also hazardous because they can be ingested by marine life and enter the food chain, posing a potential risk to marine ecosystems and human health.

79%

In 2010, about 80% of the total seabirds received plastic hazards.

Although marine degradable plastics can go some way to reducing the amount of time they spend in the ocean, they are still essentially plastic and still have the problem of degrading over time.

Marine degradable plastics are plastic materials that break down into smaller particles or molecules in the marine environment due to light, heat and water decomposition.

The seriousness of marine plastic pollution cannot be ignored. We need to take action to reduce the production of plastic waste, enhance recycling and disposal, and protect marine ecosystems and human health.

In 1980, plastics were present in the stomachs of 60% of all seabird species.

12% 12% of plastic waste is disposed of by incineration, but the toxic gases pollute the air.

450 YEARS In the ocean, it takes 450 years for a plastic bottle to be completely decomposed.

200 YEARS In the ocean, it takes 450 years for a plastic straw to be completely decomposed.

100-1300 YEARS It is estimated that Lego blocks can survive in the ocean for 100-1300 years.

50 YEARS In the ocean, it takes 50 years for a plastic cup to be completely decomposed.

20 YEARS In the ocean, it takes 50 years for a plastic bag to be completely decomposed.

BACKGROUND & RESEARCH

Hazards of microplastics on humans

Sources of microplastics

Liver system The entry of microplastics into the body can lead to liver failure and, in severe cases, hepatic hemangiosarcoma.

Cardiopulmonary system Microplastics entering the body can cause pulmonary stasis syndrome

Waste leachate

Sewage discharge

Direct dumping

Specific monomers, pyrolysis, cracking products, or additives pose various health risks during use. It is estimated that plastic particles can be found in about 50% of the world's population, and scientists have studied eight subjects from different parts of the world whose excrement contained an average of about 20 microplastic particles per 10 grams.

Digestive system Nervous system Activities at sea

Mariculture

Discard directly

225 Pieces Australian Institute dissects seabird carcasses, finds 225 pieces of plastic in carcasses

Microplastics entering the digestive The entry into the digestive system can lead to inflammation due to blockage of the intestinal tract and may lead to abnormal immune function.

Long-term exposure to microplastics can have chronic effects, the common symptom being a neurological weakness.

Plastic degradation process

104 Pieces US sea turtle rescue agency removes 104 pieces of plastic from baby sea turtles.

80 Pieces On 2 June 2018, a humpback whale calf that had swallowed more than 80 plastic bags ran aground off the coast of southern Thailand.

12 Pounds On 21 November 2018, a dead sperm whale was found in India, and about 12 pounds of plastic waste was found in its stomach.

Step 1

Step 2

Step 3

Long-term exposure to Compounds such as plastic bottles is exposure to the elements and the sun.

Plastic bottles cannot be completely degraded, but they are gradually breaking down and becoming smaller.

The plastic bottles end up as plastic fragments and pellets with a particle diameter of less than 5 mm.

ANIMATION SCREENS

Animatic: https://youtu.be/FZChIOmGFwU

Project Brief This was a challenging project for my undergraduate degree in which we needed to complete character modeling, a storyboard, and an animatic.

We were required to choose a region in the League of Legends universe to use as a base for our character design based on the art style of this region in the game. And we needed to complete character modeling, split-screen design, and animatic.

The difficulty with this project was to get the art style of the designed characters and subplots to resemble the League of Legends game art style, which meant that the final de s i g n s h a d t o co n v e r g e o n commercially viable quality. But it also made me more enthusiastic to take on the challenge of designing art for a game I love.

BACKGROUND AND RESEARCH Mind Map

Research And Design When looking for inspiration for character design in the early stages, I browsed through many official character illustrations on the League of Legends website. During this process, I noticed that there seemed to be few characters based on the Vastaya race of heroes, plus I wanted the character to be evil and ruthless. So many sheep-like feature drawings and bizarre character designs were sought out. Amongst other things, I went to the Natural History Museum and took pictures of sheep from different angles for reference.

The character of Ahri in the game also inspired me to find inspiration from ancient mythology. The nine-tailed fox demon is a magical creature that often appears in ancient Chinese books, so I studied Chinese The Classic of Mountains and Seas, the book that describes many ancient monsters and beasts, and one of them is a divine beast called Bo-Yi, a sheep with nine tails and four ears, whose two eyes grow on its back. On the other hand, the goat's image in Western culture often symbolizes the devil and evil.

For the costume design, I wanted the costume to make her look more sacred. I took reference from some nun and papal costumes and made the robe a leather texture, wrapping it around the body to outline the curves and then exposing some of the skin to cushion that solemnity. The wool on the sleeves creates a balance with the leg of the lamb. In addition, I have focused on the horns and helmet as the visual centerpiece of the character's identity.

Value Sketch

DEVELOPMENT PROCESS

Modelling Process

Character Concept

Model Coloring

For the color palette, I consulted a palette of dark blue as the primary color and red as a secondary color, with blue used to emphasize the character's features and add to the design.

After completing the coloring and illustration of the character design, I imported the 2D resources into Nomad, met the 3D model of the character, and used the shading system to adjust the materials and coloring of the model.

DEVELOPMENT PROCESS

Other Character – Elder

Background Story Concept The book opens with magic

When I was designing the background of the character‘s story, it occurred to me that the character’s tribe had an ancient book of mystical powers that had been passed down from generation to generation and that their tribe would pass this book on to the most vital person with magical powers in.

This book can strengthen the infusion of magic power and multiply its output in the story. I first thought of 'Codex Gigas,’ The Devil's Bible, the world's most significant extant medieval manuscript. I drew many references to Aeolian design in the pattern design; the natural, vine-like curvature, combined with the shape of the ram's horn, resulted in a way that resembles a teleportation array.

Other Character – Young Mandacia

The elder of the tribe and former user of the ancient book. She guards the tribe and acts as a mentor to the children of the tribe while keeping the forbidden powers of the ancient book at bay.

The tribe's young children work together to learn how to infuse the ancient book with magical energy, and the child with the most potent power is chosen as the bearer.

DEVELOPMENT PROCESS Storyboard 1. The peaceful life of the tribe 2. Elders raise the children of the tribe 3. Children begin to learn to use the power of the ancient book 4. Mandacia is growing up 5. Mandacia became the next holder of the ancient book 6. An uninvited guest arrives 7. The children greeted the uninvited guest 8. The Black Magician unleashes the forbidden power of the book 9. The Black Magician compels other tribes 10. Other tribes waged war against Mandacia's tribe 11. Mandacia begins her escape 12. Mandacia struck by an arrow during her escape 13. Mandacia falls off a cliff 14. The seal of Shadow Island is lifted 15. Mandacia comes back to life as undead and begins her revenge

DEVELOPMENT PROCESS

Outcome Mandacia grew up as the most promising child on a cliff in the continent of Ionia. Her tribe had access to great magical power through an ancient book.

Unfortunately, this power attracted the evil Black Wizard from Noxus, who, with another tribe, destroyed Mandacia's home. As they tried to take the ancient book, Mandacia fell off a cliff with the book. Later reshaped into a broken soul by the dark mist of Shadow Isles, she forgets her past happiness and sets out on a path of revenge.

Animatic: https://youtu.be/fLOYwRwlhUQ

Project Brief At the beginning of the project, I tried to get out of my comfort zone and break out of the traditional framework by making my first attempt at an open-world game in this project. But I was also aware of the scale and complexity of the project, as the open-world game required not only much conceptual design of the game environment but also the need to refine each character's story, which made me feel a little worried and nervous that I wouldn't be able to get it right. On the other hand, however, I was also aware of the growth opportunities that the challenge presented.

In the planning and research phase of the project, I wanted to create several game scenarios to show and convey cultural elements and symbols from all over the world to every player so that players can not only find familiar cultural elements but also feel the diversity of different cultures from all over the world, thus stimulating the player's cultural empathy and breaking down the cultural barriers between the world's various nationalities.

Overall, I focused on the conceptual design direction, looking for many references to support my design, incorporating the cultures I studied into my design, and combining my research and knowledge of Eastern and Western aesthetics to present my creation. In addition, I would like to use my expertise to detail the design process, demonstrate my industry-orientated conceptual design and modelling skills and step outside of my comfort zone while improving my environmental design skills and programming skills to do my best to make the content I am responsible for as good as it can be.

RESEARCH AND CHARACTER

Character Design

Cultural Symbol Mood Board

For the character and costume designs, a lot of inspiration came from museum collections and some ancient costumes, most of which were from the Qing Dynasty, as Chinese Qing Dynasty and Rococo art flourished during the same period.

Art Style Mood Board

After researching the cultural context, I searched for Tarotthemed artwork by several artists from different eras, such as illustrator Cami's series of Tarot illustrations, which add to the storytelling of the Tarot while emphasizing her style.

I based the character design on the seven cards of the Tarot deck. They are the Fool, the Magician, the Priestess, the Empress, the Emperor, the Pope, and the Hermit. Each character's appearance and inner personality are also based on the meaning of the seven Tarot cards.

CHARACTER DEVELOPMENT

Character Concept

Main Character Illustration Version

Main Character Three View

ENVIRONMENT RESEARCH AND CONCEPT

Storyboard and Value Art

Mood Board and Sketch

Silhouettes

I made sketches of different types of ancient Chinese towers and palaces, which helped me to get the most out of the artistic style and architectural framework of ancient Chinese architecture. Not only that, but this process also made me more comfortable with the subsequent conceptual design and modelling steps.

In the storyboard, I highlighted the ancient Chinese architecture as the main element of the scene, and through Value Art, I was able to help me in the subsequent design of a detailed building and the creation of the ambience.

To achieve this, I have delved into Oriental architecture from various periods and regions, looking to ancient Chinese palaces and gardens for inspiration and reference. I have studied the structure, materials, and decoration of traditional architecture in depth and have tried to combine this with the concepts and techniques of game art.

ENVIRONMENT DEVELOPMENT

Game Environment Development Process

Materials

Architecture Value Art

Room Beams Initially, I started by importing the grass assets into Unreal Engine 5's base terrain and adjusting the plots.

I then started building the platform for the piggyback building with masonry assets on the base terrain.

Floors

Color Mood Board After completing the platform 1, I created the floor tile material and then built the details using the assets that had been imported.

After completing the platform 2, I imported and tested the three building assets I had finished modelling into Unreal Engine.

Walls

Architecture Concept Art

I began replicating and fine-tuning my model assets around the building to start building the walls.

Initially, I started by importing the grass assets into Unreal Engine 5's base terrain and adjusting the plots.

In choosing the colour scheme, I was inspired by the ancient Chinese Dunhuang murals and incorporated them into the design. By referring to the colour palette of the Dunhuang murals, I used deep reds and cyans to echo the colours commonly found in traditional oriental architecture to present a magnificent and stately atmosphere.

In terms of environment building, I used the experience I had gained previously and focused on the layout and flow of the scene. I focused on creating a city and incorporating appropriate lighting settings and atmospheric effects to enhance the player‘s immersive gameplay experience. By cleverly designing the placement and proportions of elements such as terrain, buildings, and paths, the player can feel immersive when exploring the environment using a first-person perspective. In a follow-up, I intend to add dynamic weather effects, flowing water, and stylised vegetation to bring the whole environment to life.

Roofs

Ornamentation

Floor Tiles

UNREAL ENGINE TEST

Final Demo

Test Process

I have prioritized the character walk animations and plan to import them into Unreal Engine for essential player-character interaction.

In the testing stage, I imported the skeleton of the character T-pose into the Unreal Engine as a parent asset. Then I imported the finished standing pose and walking animation as separate subsets of assets.

I noticed that the materials carried by the character model were lost. Therefore, I need to be able to recreate and adjust the character's materials in Unreal Engine to ensure that the final rendering is as I expect it to be.

When recreating the materials in Unreal Engine, I found that the character models in Unreal Engine were more exposed due to the different renderers, resulting in a brighter and less saturated character model overall.

I compiled two of the character's actions in Unreal Engine to interact with the character in the scene.

After I retested the character animation, the character can normally complete the interaction in the game scene.

Link video of game environment and character: https://youtu.be/P6JYKF6rPsQ

CHARACTER CARD ILLUSTRATIONS Character : Shiro (The Fool)

Character : Li Mo (Magician)