moyra-moyu

[moyra-moyu]

Extended Assignment2: Using a "bit" of 3D#2

As part of my extended Assignment 5: Using a "bit" of 3D, I created an illustration featuring my 3D-modeled character in a detailed scene. This task was both ambitious and challenging, requiring a significant amount of time and effort.

Initially, I struggled with this project, feeling overwhelmed and even frustrated. I wanted the illustration to be perfect, so I became overly focused on fine details, often losing sight of the bigger picture. Despite my best efforts, the process felt draining, and the result didn’t resonate as strongly as I had hoped.

It was only after a conversation with my mentor, Neal, that I realized my mistake. Neal pointed out that I was prioritizing completion and polish over the fundamental goal of concept art—expressing ideas and designs clearly. I had inadvertently allowed my desire for a finished product to overshadow the importance of showcasing the character’s narrative and purpose.

Taking this advice to heart, I shifted my focus back to the core concept of the character and simplified my approach. This change in mindset allowed me to produce a more cohesive and meaningful artworks, and I felt a renewed sense of purpose in my work.

Through this experience, I gained a deeper understanding of what makes concept art impactful. I now appreciate that the strength of an illustration lies in its ability to communicate ideas effectively, rather than in its level of detail. Moving forward, I will strive to prioritize clarity and intent, ensuring my designs are not only visually compelling but also conceptually strong.

[moyra-moyu]

Extened Assignment2:Using a "bit" of 3D#1

For my second extended project, Assignment 5: Using a "bit" of 3D, I embarked on the task of bringing one of my earlier character designs to life through modeling and rendering. My goal was to make the character as visually striking and polished as possible.

This process allowed me to delve deeper into Blender, especially its rendering and material systems. I spent considerable time experimenting with textures, lighting, and shaders. As a result, my understanding of 3D techniques improved significantly, and I felt more confident in my ability to manipulate the software to match my creative vision.

However, my quest for perfection also taught me a valuable lesson. In striving for a flawless model, I realized I had shifted my focus away from the core purpose of concept art: conveying an idea effectively. While it’s important to hone technical skills, I learned that the essence of concept art lies in communicating the character’s design and story. This realization has reshaped the way I approach my work, emphasizing clarity and creativity over excessive refinement.

This project was a turning point for me as a concept artist. It not only strengthened my technical skills but also deepened my understanding of how to balance craftsmanship with the core goals of visual storytelling.

[moyra-moyu]

Extended assignment1: Human and Inhuman#2

As part of my extended Assignment 2, I revisited a character design I wasn’t entirely satisfied with: a half-mechanical, half-human female figure. While her original concept had potential, I found the execution lacked the depth and clarity I wanted. To address this, I decided to reimagine her as a male character, redesigning his features and refining his overall aesthetic.

The new design emphasized the tension between human and mechanical elements. I worked to create a character whose cybernetic enhancements felt both functional and integral to his identity. After finalizing the initial sketches, I explored color schemes to highlight the contrast between his organic and synthetic components. The final step was to model him in 3D, allowing me to better understand his proportions and test different poses to showcase his personality and capabilities.

Throughout this process, I realized that concept art is less about achieving a polished final product and more about clearly expressing ideas. Shifting my focus to the character’s essence—who they are, what their defining traits are, and how these details come together—helped me create a more compelling design.

This project reinforced the importance of flexibility in the creative process. By iterating on the character and using tools like 3D modeling to support my vision, I was able to push my concepts further. This experience has been invaluable for my development as a concept artist, teaching me how to balance creativity with practicality to communicate ideas effectively in the field of animation and gaming.

references

https://e.tb.cn/h.TQU1hMyt0PPhz3p?tk=av7keXm9heH

[moyra-moyu]

extended assignment1: Human and Inhuman#1

For my extended Assignment 2, titled Concept Art - Human and "Inhuman", I decided to delve deeper into two of my favorite character designs. Among them, the female assassin stood out as a concept I was particularly excited to explore further.

My vision for her was to blend elegance and danger, creating a character who exudes grace while carrying an aura of lethal precision. To achieve this, I combined her assassin’s attire with elements of formal wear, such as sleek, flowing fabrics and intricate details reminiscent of evening gowns. This juxtaposition was designed to make her appear both alluring and menacing.

To refine her concept, I modeled the weapons integrated into her arms. This 3D modeling process helped me visualize the functionality and positioning of her gear, enabling me to create dynamic poses that showcased her combat prowess. Experimenting with these elements allowed me to emphasize her duality—a figure who is both sophisticated and deadly.

This process taught me that concept art is not just about creating visually appealing characters but about conveying a story through their design. By focusing on the interplay of elegance and lethality in her appearance, I was able to communicate her personality and role effectively. This approach is something I aim to carry forward in future projects, honing my ability to create characters that resonate with audiences both visually and narratively.

references

[moyra-moyu]

Assignment 5, Concept and Storyboards, the power-couple#2

In my recent storyboard assignment, I decided to extend the story of a character I had designed earlier—a girl with muscular dystrophy who receives advanced mechanical limbs. This decision allowed me to explore her backstory in greater depth and expand on her transformation into a half-mechanical, half-human individual.

The plot I envisioned was dramatic and emotionally charged. After being equipped with her new prosthetics in a research lab, the protagonist awakens to a mix of awe and fear from the scientists. Her initial joy at regaining mobility quickly turns into confusion and unease as she struggles to control her new limbs. A moment of panic leads to an unintended escalation, leaving her alone and horrified at the consequences of her newfound power.

Creating this storyboard presented several challenges. I initially faced difficulties in conveying the story through concise visuals, as I attempted to include too many details in each frame. Seeking advice from my mentor, Neal, I restructured the plot, simplifying it to focus on key moments. Neal also guided me in crafting smoother camera transitions, which significantly improved the flow of the storyboard.

To streamline the process, I modeled the lab environment in 3D software, using it as a reference for framing and perspective. This approach saved considerable time and allowed me to experiment with angles and layouts, enhancing the overall quality of the storyboard.

Through this assignment, I gained valuable insights into the practical aspects of storyboarding, from effective scene composition to the use of modern tools for efficiency. These skills are directly applicable to my specialization in concept art, where visual storytelling is essential for crafting immersive worlds in animation and gaming. This project has reinforced my passion for creating narratives that are as impactful as they are visually compelling.

references

[moyra-moyu]

Assignment 5, Concept and Storyboards, the power-couple#1

For my latest assignment, the theme was storyboarding. Initially, I struggled to come up with ideas, as I was still deeply immersed in my previous project, a character design I was particularly proud of. The character—a girl with muscular dystrophy fitted with advanced mechanical limbs—held a special place in my creative journey. I decided to build the storyboard around her, imagining her origin story as a half-human, half-mechanical being.

The story begins with her asleep in a hibernation pod, her frail body being equipped with state-of-the-art prosthetics by a team of scientists. When she awakens and realizes she can move normally, the researchers erupt in applause, celebrating the success of their project. However, she struggles to adjust to her new limbs, overwhelmed by the sudden transformation. When she attempts to lift her arm, the unexpected sensitivity of her mechanical limbs frightens the researchers, triggering their panic. The situation escalates when they try to sedate her, but her reflexive response activates a defense mechanism in her robotic arm, tragically injuring the entire team. She is left in shock, staring at her own arm, unable to process what just happened.

Working on this storyboard was a challenging yet rewarding experience. While my undergraduate degree in animation provided a foundation, I wasn't particularly skilled at storyboarding. Initially, I found it difficult to visually translate the intricate plot I had in mind. However, with guidance from my mentor, Neal, I learned to simplify the story and focus on clear, effective transitions. This experience not only honed my technical skills but also taught me the importance of balancing storytelling with visual clarity.

My work on this project deepened my understanding of how visual narratives can bring complex characters to life. It’s a skill that will continue to shape my journey as a concept art student, equipping me to craft compelling stories for animation and gaming.

[moyra-moyu]

ACADEMIC BLOG#10

Get Out: No Knowledge is Universal, No One is Impartial

Introduction Jordan Peele’s Get Out (2017) is a groundbreaking film that masterfully blends psychological horror with social commentary. At its core, the movie critiques systemic racism while exploring issues like intersectionality, cultural appropriation, and political satire. This blog analyzes the film’s narrative, its use of satire, the connection to Black Lives Matter, and its implicit critique of racism. Each section highlights how Get Out uses cinematic techniques to challenge viewers' perceptions of social norms and expose the hidden structures of oppression.

Narrative: Subverting Expectations The narrative of Get Out follows Chris Washington, a Black man who visits his white girlfriend’s family for the weekend. What begins as an awkward but seemingly normal interaction escalates into a sinister exploration of exploitation and control. Peele’s use of the “Sunken Place” as a metaphor for powerlessness and erasure is both innovative and chilling.

The film's structure subverts traditional horror tropes. Instead of relying on supernatural elements, Get Out uses psychological horror rooted in real-world issues. Cho, Shen, and Wilson (2014) argue that perceived realism enhances narrative persuasion, and Peele employs this effectively to blur the lines between fiction and reality. The film's pacing also builds tension through gradual revelations, making the audience feel as trapped as Chris himself.

Satire: Political and Cultural Commentary Get Out employs satire to critique the veneer of political diversity in supposedly progressive spaces. The Armitage family’s exaggerated performative allyship—such as Dean’s infamous line, “I would have voted for Obama a third time”—is a biting commentary on liberal racism. This reflects how superficial gestures of inclusivity often mask deeper issues of privilege and bias.

Satire in the film extends beyond dialogue to visual storytelling. The pristine, idyllic setting of the Armitage estate contrasts sharply with the horrors that unfold there, symbolizing how societal oppression often hides behind a façade of civility. As Dial (2021) notes, cinematic depictions of race often reveal hidden power dynamics, and Get Out does this with unsettling precision.

Black Lives Matter: Contextual Resonance The film's release during the height of the Black Lives Matter movement underscores its cultural significance. The systemic exploitation depicted in Get Out—where the bodies of Black individuals are literally appropriated—echoes historical and ongoing racial injustices. The silent auctions in the film evoke memories of slavery, while Chris’s experience mirrors the alienation many Black individuals feel in predominantly white spaces.

O’Brien (2021) observes that Hollywood often marginalizes Black narratives, but Get Out disrupts this trend by centering the Black experience. Peele’s ability to weave social critique into a mainstream genre film amplifies its impact, resonating with audiences across racial and cultural boundaries.

Racism and Intersectionality Racism in Get Out operates on multiple levels, making intersectionality a crucial lens for analysis. Intersectionality, as defined by Dhamoon (2011), examines how overlapping systems of oppression affect individuals differently based on their identities. In the film, Chris faces racism not just as a Black man but also as someone navigating class and cultural divides.

Anthias (2013) highlights how intersectionality can deepen our understanding of social hierarchies. The film illustrates this through microaggressions, such as the Armitages’ guests fetishizing Chris’s physical attributes. These moments expose how racism often manifests subtly, creating a cumulative sense of dehumanization.

Conclusion: Implications for Art and Design Get Out is a powerful reminder that no knowledge is universal, and no one is impartial. The film challenges viewers to question their assumptions and recognize the biases embedded in cultural narratives. For me, as a concept art graduate student, the movie is a profound example of how visual storytelling can tackle complex social issues.

In my own work, I aim to incorporate layered symbolism and nuanced narratives, much like Peele does in Get Out. Whether designing environments that reflect hidden histories or creating characters that embody intersectional identities, I strive to use art as a medium for social critique. Peele’s innovative approach inspires me to push boundaries and create stories that resonate on both emotional and intellectual levels.

References

Cho, H., Shen, L., & Wilson, K. (2014). Perceived Realism: Dimensions and Roles in Narrative Persuasion. Communication Research, 41(6), 828-851. https://doi.org/10.1177/0093650212450585.

Dial, A. J. (2021). ‘The Blackest Disney Movie of All Time!’: A Goofy Movie and the Production of ‘Film Blackness’. Animation, 16(3), 126-140. https://doi.org/10.1177/17468477211049352.

Dhamoon, R. K. (2011). Considerations on Mainstreaming Intersectionality. Political Research Quarterly, 64(1), 230-243. https://doi.org/10.1177/1065912910379227.

O’Brien, D. (2021). Book review: Maryann Erigha, The Hollywood Jim Crow: The Racial Politics of the Movie Industry. European Journal of Cultural Studies, 24(3), 783-785. https://doi.org/10.1177/13675494211014909.

Wikipedia (2024). ‘逃出绝命镇’. Available at: https://zh.wikipedia.org/zh-cn/%E9%80%83%E5%87%BA%E7%B5%95%E5%91%BD%E9%8E%AE.

[moyra-moyu]

ACADEMIC BLOG#9

Horror Movie: How Religion Amplifies Terror in Hereditary

Introduction Ari Aster’s Hereditary (2018) stands out as a masterclass in psychological horror, exploring themes of inherited trauma, family dysfunction, and the sinister power of religious ritual. The film intertwines a carefully constructed narrative, symbolic imagery, and cultural references to create a visceral sense of dread. This blog examines the film through its narrative foreshadowing, religious and cultural background, semiotic depth, and its ability to immerse viewers in terror.

Narrative and Foreshadowing The narrative of Hereditary is meticulously crafted to unfold with mounting tension, using foreshadowing as its backbone. Early scenes hint at the eventual possession and the grim fate of the Graham family. For instance, the miniature dioramas created by Annie (Toni Collette) symbolically mirror the events to come, reflecting the family's lack of control over their destiny.

The storytelling in Hereditary leverages subtle cues, such as cryptic symbols etched into walls and repeated references to the occult, to build an atmosphere of unease. These elements are more than decorative; they are narrative devices that reward attentive viewers. As noted by Culture Crypt (2018), the film’s structure invites audiences to piece together the puzzle, enhancing its psychological impact. This aligns with Davis’s (2017) assertion that horror thrives on the tension between seen and unseen forces.

Religion and Cultural Background Religion is central to the terror in Hereditary. The film introduces a demonic cult dedicated to Paimon, an obscure king of hell from demonological lore. This choice anchors the narrative in a dark spiritual tradition, amplifying the stakes and emotional weight. Religious rituals, prayers, and symbols dominate key scenes, portraying faith as both oppressive and terrifying.

The cultural background of these practices adds authenticity and depth. Vincenzo, Hendrick, and Murray (1976) observed that religious themes in horror often evoke primal fears by challenging viewers' beliefs about morality and the afterlife. Hereditary employs this tension to blur the line between familial love and malevolent manipulation, leaving audiences questioning whether the Grahams are victims of supernatural forces or their own dysfunctional legacy.

Semiotics in Horror The film’s use of semiotics plays a vital role in constructing its unsettling atmosphere. Symbols such as the triangle sigil of Paimon, decapitated figures, and even the bird flying into a window all carry layered meanings. These images are not only ominous but also serve as narrative tools that connect disparate moments into a cohesive whole.

James (1978) highlights that semiotics in cinema provides audiences with a visual language that deepens storytelling. In Hereditary, the pervasive imagery creates a sense of inevitability. Every symbol, no matter how small, contributes to the audience’s growing realization that the family’s fate is sealed.

Immersive Horror The immersive horror of Hereditary stems from its relentless focus on psychological realism and its oppressive atmosphere. The film’s sound design, from ominous clicks to distorted chants, reinforces its unsettling tone. Diffrient (2018) notes that horror often lingers in the liminal spaces between life and death, and Hereditary uses this effectively in scenes where the family grapples with grief and guilt.

The cinematography also draws viewers into the story, with wide-angle shots that make the characters appear isolated and powerless. The house itself becomes a claustrophobic setting, mirroring the family’s entrapment by their dark legacy. Together, these elements create a uniquely immersive experience that transcends traditional jump scares, focusing instead on sustained dread.

Conclusion and Reflection Hereditary demonstrates how religion, narrative structure, and symbolic imagery can elevate horror from mere entertainment to a profound exploration of human fears. Its intricate storytelling and cultural depth provide a template for how filmmakers can craft emotionally resonant horror.

As a concept artist, I find Hereditary particularly inspiring for its use of symbolic design and visual storytelling. The film shows how art can evoke emotions and communicate themes without explicit exposition. In my own projects, such as creating grotesque monsters or exploring light and shadow in urban landscapes, I aim to incorporate similar techniques to craft narratives that are both visually compelling and deeply immersive.

References

Culture Crypt (2018) ‘Hereditary Review’. Available at: https://culturecrypt.com/movie-reviews/hereditary-2018.

Davis, K. R. (2017) ‘Book Review: Sacred Terror: Religion and Horror on the Silver Screen’, Anglican Theological Review, 99(1), pp. 135–136. doi: 10.1177/000332861709900121.

Diffrient, D. S. (2018) ‘Dead, but still breathing: the problem of postmortem movement in horror films’, New Review of Film and Television Studies, 16(2), pp. 98–122. doi: 10.1080/17400309.2018.1444462.

James, D. E. (1978) ‘Semiology and the independent film: A review of criticism and theory’, Quarterly Review of Film Studies, 3(3), pp. 389–403. doi: 10.1080/10509207809391411.

Vincenzo, J., Hendrick, C. and Murray, E. J. (1976) ‘The Relationship between Religious Beliefs and Attending the Fear-Provoking Religiously Oriented Movie - “The Exorcist”’, OMEGA - Journal of Death and Dying, 7(2), pp. 137-143. doi: 10.2190/LG8L-BDJN-525A-PYXY.

Wikipedia (2024) ‘宿怨’. Available at: https://zh.wikipedia.org/zh-cn/%E5%AE%BF%E6%80%A8.

[moyra-moyu]

ACADEMIC BLOG#8

Black Myth: Wukong — A Legendary Epic in Game Form

Introduction Black Myth: Wukong represents a transformative moment in the gaming industry, blending Chinese mythology with modern gameplay mechanics. Developed by Game Science Studio, the game draws inspiration from Journey to the West, a cornerstone of Chinese literature. Its narrative complexity, innovative mechanics, and cultural depth offer players an experience that transcends traditional gaming. This blog examines its narrative structure, gameplay, artistry, and connection to cultural heritage.

Narrative Structure The narrative of Black Myth: Wukong is a sophisticated reimagining of the Journey to the West. Rather than retelling the story linearly, the game employs fragmented storytelling. Players uncover Wukong’s memories through dreamlike sequences and flashbacks, creating a sense of mystery and depth. This approach allows for thematic exploration, including redemption, transformation, and resilience.

The non-linear structure resonates with the layered narratives described by Meakin (2024), who highlights their ability to immerse players emotionally. Each narrative fragment serves as a puzzle piece, encouraging players to engage actively in piecing together Wukong’s story. This engagement aligns with Qin, Patrick Rau, and Salvendy’s (2009) assertion that immersion in game narratives depends on emotional investment and active participation.

Gameplay Compared to Soulslike Games The gameplay in Black Myth: Wukong is often compared to Soulslike games due to its challenging combat and intricate mechanics. However, it also diverges in meaningful ways. While traditional Soulslike games emphasize endurance and precision, Black Myth introduces innovative mechanics such as Wukong’s ability to shapeshift. This feature not only diversifies combat strategies but also reflects the adaptability central to Chinese philosophy.

The game also incorporates distinct pacing. Unlike the relentless pressure of Soulslike titles, Black Myth includes moments of introspection and exploration. These pauses allow players to appreciate the richly detailed world and its connection to Chinese culture. Screenrant (2024) notes that this balance makes the game both challenging and rewarding, appealing to a broad audience.

Artistic Excellence The visual design of Black Myth: Wukong elevates it beyond a typical gaming experience. The developers use Unreal Engine 5 to craft a world that feels alive, from the textures of Wukong’s fur to the fluidity of his combat animations. The game’s environments, inspired by traditional Chinese landscapes and art, are imbued with cultural symbolism.

The artistic approach draws heavily from ink wash painting, incorporating soft gradients and stark contrasts. These stylistic choices create an atmospheric experience that blends traditional art with cutting-edge technology. Cool3C (2024) highlights how this artistic direction makes Black Myth an evocative experience, bridging past and present.

As a concept artist, I am inspired by how Black Myth uses art to convey mood and narrative. The game demonstrates that visuals are not merely decorative but integral to storytelling.

Cultural Heritage in Gaming One of the game’s most significant achievements is its celebration of Chinese cultural heritage. Black Myth integrates folklore, historical elements, and mythological motifs into its design. This integration preserves cultural narratives while making them accessible to a global audience. Zeiler and Thomas (2020) emphasize the importance of such efforts, arguing that video games can be powerful tools for cultural preservation.

The game avoids cultural appropriation by staying authentic to its source material. Developers consulted historical texts and collaborated with cultural experts to ensure accuracy. Game8 (2024) observes that this attention to detail positions Black Myth as a cultural ambassador, introducing international audiences to the richness of Chinese mythology.

Conclusion and Reflection Black Myth: Wukong is more than a game; it is an artistic and cultural milestone. Its layered storytelling, innovative mechanics, stunning visuals, and cultural authenticity set a new standard for narrative-driven games.

For me as a concept artist, Black Myth is an inspiring case study. It illustrates the power of integrating tradition with modern design to create experiences that resonate deeply. In my own work, I aim to adopt similar principles. Whether designing a skeletal monster symbolizing inner struggles or crafting a mysterious urban portal, I strive to balance artistic expression with narrative depth. Games like Black Myth remind us that art and storytelling in games can transcend entertainment to become enduring cultural artifacts.

References

Cool3C (2024) Black Myth: Wukong Analysis. Available at: https://www.cool3c.com/article/223347.

Game8 (2024) Black Myth: Wukong Cultural Treasures. Available at: https://web.archive.org/web/20240819204438/https://game8.co/articles/latest/black-myth-wukong-places-chinas-cultural-treasures-to-the-forefront.

Meakin, E. (2024) ‘Video game structural layers for narrative design and articulation’, Digital Creativity, 35(4), pp. 321–340. doi: 10.1080/14626268.2024.2411222.

Polygon (2024) Black Myth: Wukong Review. Available at: https://web.archive.org/web/20240817123019/https://www.polygon.com/review/440941/black-myth-wukong-review.

Qin, H., Patrick Rau, P.-L. and Salvendy, G. (2009) ‘Measuring Player Immersion in the Computer Game Narrative’, International Journal of Human–Computer Interaction, 25(2), pp. 107–133. doi: 10.1080/10447310802546732.

Screenrant (2024) Black Myth: Wukong Soulslike. Available at: https://web.archive.org/web/20240819202453/https://screenrant.com/black-myth-wukong-soulslike/.

Zeiler, X. and Thomas, S. (2020) ‘The relevance of researching video games and cultural heritage’, International Journal of Heritage Studies, 27(3), pp. 265–267. doi: 10.1080/13527258.2020.1762705.

[moyra-moyu]

Reader

1.

Gil-Aciron, L. A. (2022). The Psychology of Gamers: Psychological Perspectives on Game Design and Gamification. Interactive Learning Environments, 32(1), 183–207. Available at: https://doi.org/10.1080/10494820.2022.2082489

This study delves into the psychological foundations of game design and gamification, analyzing how game mechanics and dynamics shape player engagement, motivation, and emotions. Drawing on theories such as self-determination and flow, Gil-Aciron highlights the mechanisms that sustain player interest and emotional connection. Practical applications of gamification beyond gaming, such as in education and workplace productivity, are also explored through real-world examples.

From my perspective as a concept artist, this research highlights the importance of psychological principles in creating immersive game environments. The paper's insights into intrinsic motivation and reward systems inspired me to integrate these concepts into my design, and in Assignment 4, Concept Art - Light and Shadows, I also tried to create an environment that emotionally resonates with the player to increase the expressiveness of the work.

2.

Hernández-Pérez, M. (2024). Video Game Characters and Transmedia Narratives. Review of Dynamic Game Characters by J. Blom. Popular Communication, 22(3), 200–202. Available at: https://doi.org/10.1080/15405702.2024.2393240

In reviewing Dynamic Game Characters, Hernández-Pérez explores how video game characters evolve dynamically through player interaction and connect to transmedia storytelling. The review commends Blom's integration of theory and practical examples but critiques the limited case studies. The book emphasizes how characters develop across platforms, enriching narratives and deepening audience engagement.

This resonates with my philosophy of character design, as character-driven storytelling directly impacts the atmosphere and narrative coherence of the game world. When I designed a character in Assignment 5, Using a "bit" of 3D, I didn't just design her look, I also tried to build a unique character based on her personality and experience, so as to enhance the depth of the narrative and the player's immersion.

3.

McCrea, C. (2017). The Progressive Revelation of Pokémon: 20 Years of Game Design Notes. Mobile Media & Communication, 5(1), 42–46. Available at: https://doi.org/10.1177/2050157916678271

McCrea examines the Pokémon franchise’s gradual evolution, detailing how incremental innovations in mechanics and themes have sustained its popularity over decades. The analysis highlights how each generation balances tradition with novelty, fostering nostalgia while engaging new audiences. Pokémon’s adaptability, particularly in mobile media like Pokémon GO, is also discussed.

This insight into incremental design is very inspiring to me, especially when it comes to conceptualizing an ever-evolving environment today. The balance between tradition and innovation has inspired me to think about my own culture when I was designing concepts, and in my work Assignment 3, Concept Art - Nostalgia and Memory, I try to tell the story of the Chinese Lantern Festival to create spaces that are both familiar and surprising, to add depth and uniqueness to my work.

4.

Kirkpatrick, G. (2007). Between Art and Gaminess: Critical Theory and the Aesthetics of Computer Games. Thesis Eleven, 89(1), 74–93. Available at: https://doi.org/10.1177/0725513607076134

Kirkpatrick investigates the unique fusion of art and interactivity in computer games, proposing alternative frameworks for evaluating their aesthetic merit. The paper emphasizes how games’ ludic and participatory nature differentiates them from traditional art forms, discussing their cultural and societal significance.

This study encourages me to view game environments as more than visual elements—they are integral to player engagement. It inspired me to create designs that are not only beautiful, but also closely related to the game mechanics and narrative, and I was trying to better consider the usefulness and operation of each part of the character in the drawing process when I designed the character in Assignment 5, Using a "bit" of 3D, which I think was an important experience and inspiration for me.

5.

Tompkins, J. E., & Martins, N. (2022). Normalized Practices of Male Pleasure: Character Design in the Video Game Industry. Games and Culture, 17(3), 399–420. Available at: https://doi.org/10.1177/15554120211034760

In this article, Tompkins and Martins critically analyze character design in the video game industry, focusing on how male pleasure is embedded in the normalized practice of game development. Through an examination of visual and narrative elements, the author reveals how a male-centric perspective influences the portrayal of characters, often prioritizing male pleasure and perpetuating gender stereotypes. The authors argue that the industry's reliance on these normalized practices not only limits the diversity of role representation, but also reinforces broader social power dynamics. This research encourages reflection on the ethical responsibility of game designers in creating inclusive and equitable narratives.

This is in line with my idea of designing characters and environments that reflect different experiences, conceptual design is undoubtedly free, and as a conceptual designer, I hope to think more about going beyond the traditional social perspective in the future to create a more inclusive and equitable gaming culture.

6. 

Klapztein, S., & Cipolla, C. (2016). From Game Design to Service Design: A Framework for Gamified Services. Simulation & Gaming, 47(5), 566–598. Available at: https://doi.org/10.1177/1046878116641860

Klapztein and Cipolla explore the intersection of game design and service design, proposing a comprehensive framework for developing gamified services. By integrating principles of game mechanics and user engagement, the authors offer insights into how gamification can enhance service experiences across various industries.

The article emphasizes the importance of balancing playful elements with functional objectives to create meaningful and sustainable user interactions. Through detailed case studies, the authors illustrate how their framework can be applied to design services that not only entertain but also motivate and educate users.

This inspires me to explore gamification in visual storytelling, designing environments that integrate playful, engaging elements while maintaining narrative depth.In Assignment 3, Concept Art - Nostalgia and Memory, I not only consider the picture effect when creating, I also try to integrate the story behind the picture into the scene to increase the narrative of the story.  

7. Kirkland, E. (2010). Constructing the Art of Silent Hill as a Discourse. Games and Culture, 5(3), 314–328. Available at: https://doi.org/10.1177/1555412010364976

Kirkland examines Silent Hill as a cultural and artistic phenomenon, highlighting its use of visual design, soundscapes, and symbolic narratives to explore psychological depth. The series blurs the lines between popular culture and artistic expression, offering unsettling yet profound experiences.

This study inspires concept artists to evoke emotional and psychological responses through design. It motivates me to combine surreal and realistic elements to create immersive environments that deeply resonate with players.The monsters I created in Assignment 1, Concept Art - Creating "Concepts" try to arouse the audience's emotional resonance through their shapes, so as to achieve the horror effect I wanted.

8. Jones, M. (2007). Vanishing Points: Spatial Composition and the Virtual Camera. Animation, 2(3), 225–243. Available at: https://doi.org/10.1177/1746847707083420

Jones explores the role of virtual cameras in digital spaces, focusing on how spatial composition influences storytelling and emotional engagement. By blending traditional cinematography with dynamic framing and interactive perspectives, the study highlights their impact on narrative clarity and player focus.

This encourages concept artists to consider virtual camera placement when designing, ensuring visually compelling and narratively cohesive environments that support gameplay and storytelling.This article gave me a lot of inspiration and ideas, and the storyboards I created in Assignment 5, Concept and Storyboards, the power-couple! paid special attention to the narrative and interactivity of each shot, and it was a good result.

9. Van Rooij, M. (2019). Carefully Constructed Yet Wonderfully Real. Animation, 14(3), 191–206. Available at: https://doi.org/10.1177/1746847719875071

In this article, van Rooij explores the character design strategies employed by major American animation studios to evoke empathy in audiences. The author identifies common stylistic elements—such as exaggerated facial features, expressive eyes, and relatable body language—that transcend individual productions and foster an emotional connection with viewers.

The article also considers the balance between stylization and realism in character design, emphasizing the importance of achieving both visual appeal and emotional resonance.

For me, this research reminded me of the need to be able to balance visual appeal and emotional resonance when designing characters. Inspired by this, I designed each of the characters in Assignment 2, Concept Art - Human and "Inhuman" with their keyword anchors, trying to make them distinctive and visually expressive.

10.

Friedman, A. (2015). The Role of Visual Design in Game Design. Games and Culture, 10(3), 291-305. Available at: https://doi.org/10.1177/1555412014559977

In this article, Friedman examines the critical role of visual design in shaping the player experience within video games. The author argues that visual design is not merely an aesthetic consideration but a fundamental component of gameplay, narrative communication, and player immersion.

Friedman delves into how elements such as color, composition, and iconography contribute to intuitive user interfaces, emotional engagement, and world-building. The article also highlights the collaborative nature of game development, where visual design must integrate seamlessly with storytelling, sound, and gameplay systems.

Friedman’s insights inspire me to consider not only the artistic quality of my designs but also their functional and narrative impact.After this paper, I also paid more attention to the role of visual elements such as color composition in the overall character concept in my work, which deepened my understanding of conceptual design and helped me to better complete my work.

[moyra-moyu]

Critical Analysis

Friedman, A. (2015). "The Role of Visual Design in Game Design", Games and Culture, 10(3), pp. 291–305. Available at: https://doi.org/10.1177/1555412014559977.

Friedman’s article examines the integral role of visual design in game development. It argues that visual design is more than a tool for aesthetic appeal. it shapes narratives, guides player behavior, and fosters emotional engagement. The article presents a comprehensive overview of how visual elements such as color, lighting, and textures can profoundly influence a player’s experience. This analysis evaluates the unique contributions of Friedman’s work, critiques its limitations, and connects its insights to my practice as a concept art student.

Friedman’s discussion of visual design as a storytelling tool is one of the article’s most compelling aspects. He explains that visual elements often communicate narratives more effectively than dialogue or text. For example, the use of dark, desaturated colors in horror games creates an atmosphere of dread and isolation. Games like The Last of Us use environmental storytelling—abandoned buildings, scattered belongings, and subtle lighting—to convey the collapse of society without relying on exposition. This perspective highlights how thoughtful visual design can evoke complex emotions and deepen player immersion.

The article also emphasizes the importance of visual cues in guiding player behavior. Friedman discusses how design choices subtly direct players through game environments. He uses Portal as an example, where the placement of bright lighting and contrasting colors naturally draws players toward their objectives. This insight is particularly valuable in the context of intuitive gameplay, where players rely less on explicit instructions and more on visual guidance. By linking visual design to gameplay mechanics, Friedman demonstrates how art and function can seamlessly integrate.

Another strength of the article lies in its advocacy for cultural inclusivity in visual design. Friedman critiques the predominance of Western aesthetics in mainstream game development, arguing for greater representation of diverse cultural styles. He cites Okami, a game inspired by traditional Japanese ink painting, as a successful example of cultural storytelling. This argument is especially relevant in a globalized gaming industry, where designers have opportunities to draw from a rich tapestry of artistic traditions. Friedman’s call for cultural diversity challenges designers to explore new visual languages and connect with broader audiences.

Finally, Friedman’s critique of the pursuit of hyperrealism in game graphics is thought-provoking. He argues that stylized visuals often have greater emotional resonance than realistic ones. Games like Hollow Knight and Cuphead, with their unique art styles, demonstrate the power of abstraction in creating memorable experiences. This perspective encourages designers to prioritize creativity and emotional impact over technical perfection.

While Friedman’s arguments are insightful, they have certain limitations. One notable issue is the reliance on anecdotal evidence. For instance, his analysis of visual cues as navigational tools would benefit from empirical data, such as player studies or usability testing. This lack of supporting evidence weakens the article’s claims, particularly for readers seeking a more rigorous academic foundation.

The section on cultural inclusivity, though inspiring, also has gaps. While Friedman celebrates games like Okami for their cultural authenticity, he does not address the potential risks of cultural appropriation or misrepresentation. For example, Ghost of Tsushima, a game praised for its aesthetic fidelity to Japanese culture, faced criticism for being developed by a Western studio. A discussion of these ethical considerations would add depth to Friedman’s argument and provide a more balanced view of cultural representation in game design.

Friedman’s critique of realism in graphics is another area that could benefit from further nuance. While he effectively highlights the value of stylized art, he overlooks the contexts where realism is essential. Genres like historical simulations and military strategy games rely on realistic visuals to create authenticity and immersion. For example, games like Assassin’s Creed and Red Dead Redemption 2 use realistic environments to transport players into meticulously crafted historical settings. Acknowledging these scenarios would strengthen Friedman’s argument by showing an understanding of the diverse needs of different game genres.

Additionally, the article does not explore the technical constraints that often influence visual design choices. Budget, hardware limitations, and team expertise are practical factors that shape how visual elements are implemented. Addressing these challenges would provide a more holistic view of visual design in game development.

As a concept art student, Friedman’s article has significantly influenced my understanding of visual storytelling. His emphasis on using visual elements to convey narratives resonates with my recent projects. For example, in my project exploring the interplay of light and shadow, I used lighting to evoke mystery and tension. Friedman’s insights encourage me to deepen this approach by aligning every visual choice with the story’s themes.

The discussion on visual cues inspires me to experiment with guiding viewers subtly through my designs. I aim to use lighting contrasts, color gradients, and architectural elements to direct attention without overt markers. For instance, in a cityscape concept I recently developed, I could enhance the flow by strategically placing light sources to highlight pathways and focal points. This approach aligns with Friedman’s idea of intuitive navigation and could make my designs more engaging.

Friedman’s advocacy for cultural inclusivity resonates deeply with me as an artist from China. His call to embrace diverse aesthetics encourages me to integrate traditional Chinese art styles, such as ink painting and calligraphy, into my projects. This approach would not only honor my cultural heritage but also contribute to the growing diversity in visual design. For instance, I could use flowing brushstrokes and soft gradients to create atmospheric landscapes that stand out from conventional Western styles.

Finally, Friedman’s critique of hyperrealism has motivated me to explore stylized art further. In a field often dominated by photorealistic designs, I find the freedom of abstraction and stylization liberating. Using tools like ZBrush and Blender, I plan to create designs that prioritize emotional resonance over technical precision. This focus on creativity aligns with Friedman’s perspective and opens up opportunities for unique artistic expression.

Conclusion

Friedman’s article provides a valuable exploration of the role of visual design in game development. It highlights how design choices shape narratives, guide players, and celebrate cultural diversity. Despite its limitations, such as a lack of empirical evidence and ethical discussions, the article offers important insights for designers. For me, it underscores the importance of storytelling, experimentation, and cultural expression in concept art. By applying these principles, I can create more immersive and meaningful designs. Friedman’s work will continue to inspire my creative journey.

[moyra-moyu]

ACADEMIC BLOG#7

Unfriended: Dark Web – A Surrealist Approach to Horror

Introduction Unfriended: Dark Web (2018) revolutionizes horror storytelling by situating its narrative entirely on a computer screen. This digital format not only enhances the psychological tension but also introduces innovative techniques that reflect contemporary anxieties about technology and digital culture. By exploring its unique narrative structure, the use of hyperreality, experiential realism, and transmedia storytelling, this blog illustrates how the film challenges traditional horror tropes while pushing the boundaries of digital narrative design. The analysis concludes by relating these concepts to the field of concept art, underscoring their relevance in crafting immersive, technology-driven narratives.

Narrative Structure: A New Form of Found Footage The film adopts a desktop narrative style, presenting the story exclusively through a computer interface. This approach builds upon the found-footage tradition but adapts it for the digital age. Instead of relying on physical spaces to evoke fear, the film immerses viewers in virtual interactions, where the characters’ digital actions dictate their fate (Bloody Disgusting, 2018).

The fragmented structure reflects the non-linear nature of digital communication, with the story unfolding through video calls, chat windows, and shared files. This deliberate fragmentation heightens suspense and mirrors the unpredictability of online interactions, offering a fresh take on horror narratives (Kickasola, 2006).

Immediacy, Hyperreality, and Hypermediacy Unfriended: Dark Web skillfully employs the concepts of immediacy and hypermediacy to engage audiences. Immediacy is achieved by mimicking real-life digital interactions, creating an authentic and immersive experience. Meanwhile, hypermediacy disrupts this immersion by foregrounding the medium itself—pop-ups, glitches, and switching between apps remind viewers of the constructed nature of the narrative (Springer, 2022).

The portrayal of the dark web leverages hyperreality, blending exaggerated cybercrime scenarios with plausible online behaviors. This technique amplifies societal anxieties about digital privacy and security while making the horror feel disturbingly personal and believable (Perkis & Taveter, 2022).

Experiential Realism and Believability Despite its surreal premise, Unfriended: Dark Web maintains a sense of experiential realism. By grounding its horror in relatable digital environments—video calls, file sharing, and social media interactions—the film connects with the audience's lived experiences. This believability anchors the narrative, allowing supernatural and cybercrime elements to resonate more deeply (Academia.edu, 2022).

The film emphasizes the vulnerabilities of its characters not through traditional horror setups but through their digital footprints. This shift reflects real-world concerns about online identity and safety, blurring the line between the screen and reality (Kickasola, 2006).

Innovations in the Horror Genre By focusing on digital spaces, Unfriended: Dark Web challenges traditional horror conventions. The film replaces physical scares with psychological tension, demonstrating that modern technology can evoke fear as effectively as traditional horror tropes (SYFY Wire, 2018).

Moreover, its multiple endings introduce an interactive element, encouraging audiences to engage with the narrative beyond the film. This participatory approach reflects the changing relationship between media and viewers in a hypermediated digital age (Perkis & Taveter, 2022).

Transmedia Storytelling and Hypermedia The film’s transmedia strategy extends its narrative across social media, online forums, and other digital platforms. This interconnected approach enriches the story and mirrors the fragmented, multi-layered nature of digital culture (van Kessel, Manriquez, and Kline, 2025). Hypermedia techniques further enhance the narrative by incorporating textual, visual, and interactive elements, creating an immersive, multi-sensory experience (Wikipedia, 2024).

Conclusion: Implications for Concept Art As a concept artist, Unfriended: Dark Web exemplifies the potential of digital mediums to redefine narrative immersion. The film's innovative use of fragmented storytelling, hyperreality, and transmedia elements highlights new opportunities for visual storytelling. These techniques inspire the development of interactive, technology-driven worlds where audiences can actively engage with narratives.

In my field, these principles could be applied to design immersive environments that blend hyperreal visuals with interactive elements, offering deeper engagement and emotional resonance. By pushing the boundaries of traditional storytelling, concept artists can create narratives that reflect the complexities of contemporary digital culture, just as Unfriended: Dark Web has done within the horror genre.

References

Academia.edu (2022) Reconnecting with the Everyday: The Cinematic Realism of Unfriended (2014). Available at: https://www.academia.edu/95811509 (Accessed: 7 November 2024).

Bloody Disgusting (2018) SXSW Review: Unfriended: Dark Web is the Horror Game Night We Didn’t Know We Needed. Available at: https://bloody-disgusting.com/reviews/3487200/sxsw-review-unfriended-game-night/ (Accessed: 7 November 2024).

Bright Lights Film Journal (2018) A Spectre in the Participatory Panopticon: The Database Horror of Unfriended: Dark Web. Available at: https://brightlightsfilm.com/a-spectre-in-the-participatory-panopticon (Accessed: 7 November 2024).

Kickasola, J. (2006) ‘Contemporary Media and the Evolving Notion of Immediacy’, Quarterly Review of Film and Video, 23(4), pp. 299–310. doi: 10.1080/10509200690897581.

Perkis, A. and Taveter, K. (2022) ‘Applications of complex narratives’, New Review of Hypermedia and Multimedia, 28(3–4), pp. 97–111. doi: 10.1080/13614568.2022.2150323.

Springer (2022) Immediacy, Hypermediacy, and Experiential Realism in Digital Narratives. Available at: https://link.springer.com/chapter/10.1007/978-3-030-96436-8_14 (Accessed: 7 November 2024).

SYFY Wire (2018) Unfriended: Dark Web Director Discusses Alternate Endings. Available at: https://web.archive.org/web/20180731233757/http://www.syfy.com/syfywire/unfriended-dark-web-director-calls-the-alternate-endings (Accessed: 7 November 2024).

van Kessel, C., Manriquez, J. D. and Kline, K. (2025) ‘Baudrillard, hyperreality, and the ‘problematic’ of (mis/dis)information in social media’, Theory & Research in Social Education, pp. 1–23. doi: 10.1080/00933104.2024.2439302.

Wikipedia (2024) Hypermedia. Available at: https://en.wikipedia.org/wiki/Hypermedia (Accessed: 7 November 2024).

[moyra-moyu]

ACADEMIC BLOG#6

The Substance: A Bold Rebuke to Patriarchy Through Body Horror

Visual Culture and Identity: Confronting Gender Bias

Coralie Fargeat’s The Substance (2024) boldly critiques patriarchal norms by redefining body horror through a feminist lens. By presenting the female body as both a site of trauma and resistance, the film disrupts traditional horror conventions to address gender bias and societal expectations (The Guardian, 2024).

Fargeat utilizes the protagonist’s bodily transformation as a metaphorical journey from victimhood to empowerment, reclaiming the horror genre from its male-dominated history. Through this lens, The Substance reimagines the female experience not as an object of terror but as a subject of agency, forcing viewers to confront their preconceptions about gender roles (Boczkowska, 2021).

Color, Cinematography, and Semiotics

The film’s visual storytelling employs a vivid color palette to symbolize power dynamics and transformation. Oppressive blues dominate scenes of male dominance, while vibrant reds signify liberation and rebirth, paralleling the protagonist’s psychological and physical evolution (Alternate Ending, 2024).

Semiotic analysis reveals the layered meanings in Fargeat’s use of imagery. The visceral depiction of bodily fluids and mutations serves as a subversion of patriarchal norms, transforming grotesque elements into symbols of resistance. These semiotic choices invite the audience to interpret body horror as a critique of societal constraints rather than mere spectacle (Noad and Barton, 2018).

Narrative Structure: Subverting Traditional Horror Tropes

The Substance employs a non-linear narrative that mirrors the protagonist’s fragmented psychological state. This approach breaks away from conventional linearity, emphasizing emotional resonance over plot coherence. Such a structure challenges audience expectations, engaging them in the feminist themes through disorientation and introspection (Cineuropa, 2024).

This cyclical storytelling further underscores the inevitability of female empowerment, rejecting the typical arc of victimization prevalent in horror films. Instead, Fargeat crafts a narrative that is both symbolic and transformative, reinforcing the film’s feminist ethos (The New York Times, 2024).

Media Utilization: Bridging Reality and Surrealism

The film integrates media within media—screens, recordings, and digital interfaces—to critique societal voyeurism and the role of media in perpetuating gender stereotypes. This meta-cinematic technique blurs the line between fiction and reality, compelling audiences to reflect on their complicity in sustaining patriarchal narratives (A Rabbit’s Foot, 2024).

By juxtaposing hyperrealism with surreal dream-like sequences, The Substance explores how media consumption can simultaneously entrap and liberate, mirroring the protagonist’s journey of reclaiming autonomy (The Guardian, 2024).

Surrealism and Body Horror: A Visceral Feminist Manifesto

Fargeat elevates body horror into a feminist statement, using the protagonist’s grotesque transformations to symbolize liberation from societal expectations. These surreal, visceral depictions blur the boundaries of reality, immersing the audience in a discomforting exploration of autonomy and control (Kids in Mind, 2024).

This fusion of surrealism and hyperrealism transforms the film into a manifesto for resistance. By disrupting viewers’ comfort with traditional narratives, Fargeat compels them to confront societal norms through a feminist lens, redefining horror as a tool for empowerment (Boczkowska, 2021).

Conclusion and Professional Implications

As a graduate student in concept art, The Substance offers profound insights into the power of visual storytelling in challenging societal norms. Fargeat’s innovative use of color, semiotics, and narrative subversion provides a template for exploring themes of identity and resistance in visual media.

In concept art, these techniques can inspire the creation of characters and environments that communicate layered narratives, blending symbolic and literal elements. The film demonstrates how surreal and hyperreal visuals can engage audiences emotionally and intellectually, a methodology particularly relevant in designing immersive and thought-provoking media worlds.

References

Alternate Ending (2024) The Substance (2024). Available at: https://www.alternateending.com/2024/11/the-substance-2024.html (Accessed: 7 November 2024).

A Rabbit’s Foot (2024) Coralie Fargeat: The Substance. Available at: https://a-rabbitsfoot.com/editorial/confessions/coralie-fargeat-the-substance/ (Accessed: 7 November 2024).

Boczkowska, K. (2021) ‘Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film’, Feminist Media Studies, 23(5), pp. 1962–1977. doi: 10.1080/14680777.2021.2004194.

Cineuropa (2024) The Substance: An Exploration of Feminist Body Horror. Available at: https://cineuropa.org/en/newsdetail/462560/ (Accessed: 7 November 2024).

Kids in Mind (2024) The Substance: Movie Review and Analysis. Available at: https://kids-in-mind.com/s/substance-parents-guide-movie-review-rating.htm (Accessed: 7 November 2024).

Noad, B. and Barton, G. (2018) ‘Emotion resonance and divergence: a semiotic analysis of music and sound in The Lost Thing and Elizabeth’, Social Semiotics, 30(2), pp. 206–224. doi: 10.1080/10350330.2018.1543115.

The Guardian (2024) The Substance review: Demi Moore is fearless in visceral female body horror. Available at: https://www.theguardian.com/film/2024/sep/22/the-substance-review-demi-moore-is-fearless-in-visceral-female-body-horror-coralie-fargeat (Accessed: 7 November 2024).

The New York Times (2024) The Substance: Review. Available at: https://www.nytimes.com/2024/09/19/movies/the-substance-review.html (Accessed: 7 November 2024).

[moyra-moyu]

CONCEPT ART-Using a "bit" of 3D#2

In the 3D part, I decided to focus on the mechanical design of the girl. These mechanical parts involve perspective and structure, and making a model is not only a further refinement of the design, but also helps me to understand the logic of its operation to a great extent. Due to the complexity of these mechanical structures, it is difficult to fully represent them by plane drawing alone, and these problems can be solved more intuitively through modeling.

In the past, I mainly used Maya and ZBrush, but on the advice of my mentor, I started to teach myself Blender. Blender is a brand new software for me, and the learning and modeling process was not easy at first. Due to my unfamiliarity with the tool, I encountered a lot of resistance in operation, such as interface operation, memory of shortcut keys, and the specific implementation of certain functions. However, under the guidance of my mentor Neal, I adjusted my learning strategy and found and used some free model materials. These materials helped me save a lot of time in the production of complex mechanical structures, and at the same time gave me a deeper understanding of the basic skills of modeling.

With the help of materials, my work efficiency has been greatly improved, and I have gradually built the robotic arms and legs of the character. In the process, I found that the importance of clear and intuitive concept drawings and three views for modeling cannot be overlooked. If I, as a concept artist, didn't have a clear idea of the structure, the modeler would have faced a lot of difficulties in the subsequent production. Therefore, this assignment made me pay more attention to the details of the design stage, and strive to provide more accurate guidance for modeling.

Eventually, I finished modeling the mechanical part of the character. Whether it is the multi-joint design of the robotic arm or the support structure of the robotic leg, the model has successfully restored my original vision. The whole modeling process made me realize that 3D tools are not only an extension of the design, but also provide more possibilities for creative expression.

This assignment was a very challenging but rewarding experience for me. From learning new software to designing complex structures, I have not only improved my skills, but also gained a clearer understanding of the close relationship between graphic design and 3D modeling in the conceptual design process. More importantly, I gradually got used to the process of exploring new tools and solving new problems, and I felt the joy and sense of accomplishment of design. I am confident that this learning experience will have a profound impact on my future design work.

References

[moyra-moyu]

CONCEPT ART-Using a "bit" of 3D#1

This assignment required me to make some models based on the design. In the initial conception stage, I tried a variety of character silhouette designs, hoping to convey the core temperament and styling language of the character through silhouettes. I originally envisioned a slender girl with two knives in her hand, showing agility and combat effectiveness. However, as the design progressed, I was gradually drawn to the last silhouette, whose unique silhouette and dynamics were more in line with the theme I wanted to express. So, I chose this silhouette and used it as a basis for in-depth design.

In the specific design process, I first clarified the overall structure of the character, including the body proportions, posture and distribution of mechanical parts. Then, I experimented with the character's color scheme several times, and made several sets of color schemes, hoping to enhance the visual impact of the character through different color combinations, and at the same time give it more emotional expression. For example, I've tried a combination of cool tones and metallic textures to bring out the coolness of the machine, and I've also tried to add warm accents to accentuate the character's vitality. These color experiments not only enriched the expressiveness of the characters, but also made me think more deeply about the role of color in design.

In addition to the exterior design, I also paid special attention to the functionality and logic of the mechanical part of the character. I made detailed sketches of the mechanical structure, showing how the joints of the robotic arm move, and how they connect to the girl's back. At the same time, I put a lot of effort into the design of the mechanical legs, and I did a detailed analysis of the external form and internal structure. The flexibility of the joints, the support of the mechanical legs, and how to coordinate with the movements of the characters are all important considerations for me.

In the process, my spatial awareness and structural understanding have improved significantly. While drawing the mechanical structure, I had to think back and forth about how the parts interact in 3D to make sure they strike a balance between functionality and aesthetics. This made me realize more deeply that design is not only a visual expression, but also a combination of logic and reality.

The whole design process was full of challenges, but it also gave me a lot of rewards. I learned to refine a character from multiple perspectives, including the dynamic sense of the silhouette, the emotional expression of the color scheme, and the functional design of the mechanical structure. This assignment gave me a deeper understanding of the holistic nature of character design, and it also sparked my interest in exploring more design possibilities in the future.

References

[moyra-moyu]

ACADEMIC BLOG#5

Needy Streamer Overload: An Outstanding Example of Intertextual and Transmedia Gaming that Breaks the Fourth Wall

The Transmedia Nature of Needy Streamer Overload

Needy Streamer Overload (NSO), also known as Needy Girl Overdose, is an innovative visual novel that leverages transmedia storytelling to create an immersive and complex narrative experience. Players assume the role of an online manager for Ame, a fictional live-streamer whose mental health and personal identity deteriorate as she becomes increasingly consumed by her audience and online persona. By integrating game mechanics with real-world social media aesthetics and pressures, NSO resonates with contemporary issues surrounding digital identity, mental health, and the phenomenon of influencer culture (Van Ryn, Apperley, and Clemens, 2018).

The game employs transmedia techniques to transcend traditional plot boundaries, constructing a "hyperdiegetic" world—a narrative framework extending beyond a single storyline to encourage broader exploration (Jones, Cronin, and Piacentini, 2018). By bridging Ame's fictional online life with real-world digital dynamics, NSO creates a narrative that feels authentic and emotionally resonant. This interconnectedness allows players to reflect on their own experiences with social media, offering a unique perspective on the complexities of online engagement.

Breaking the Fourth Wall

A defining feature of Needy Streamer Overload is its ability to break the fourth wall between players and the game. As Ame's manager, players have agency over her career, lifestyle, and mental well-being, creating a sense of responsibility that is simultaneously engaging and unsettling. This dynamic forces players to confront the consequences of their decisions, highlighting the psychological toll of social media and the relentless pursuit of online validation (Fossa, 2021).

The game's fourth-wall-breaking mechanics foster introspection, encouraging players to consider their relationships with digital personas and platforms. This reflective element reinforces the narrative’s psychological depth, creating an impactful exploration of themes like fame, mental health, and societal expectations.

Hypermedia and Experimental Realism

NSO effectively utilizes hypermedia—a digital content form integrating multiple media types—to craft a dynamic, interactive experience. By simulating social media interactions, live streams, and messages, the game immerses players in Ame’s world, reflecting the immediacy and fluidity of real online engagement. This approach mirrors the evolving nature of hypermediated content and its influence on individual identity (Bolter and Grusin, 2000).

Through hypermedia storytelling, the game emphasizes the stakes of managing Ame’s online identity. Each player interaction feels consequential, amplifying emotional engagement and driving home the narrative’s focus on mental health. By blending realism with digital experimentation, NSO elevates the visual novel genre, offering a nuanced exploration of personal and cultural anxieties.

Hyperdiegesis and World-Building

The game’s use of hyperdiegesis further enhances its narrative depth, suggesting a broader universe beyond Ame’s immediate experiences. This narrative strategy invites players to interpret the psychological and social dynamics shaping her story without being confined to a linear progression. Through its references to internet culture, virtual influencers, and societal pressures, NSO crafts a layered and immersive world that extends beyond the screen (Jones, Cronin, and Piacentini, 2018).

This expansive world-building enables players to engage with the game on multiple levels, exploring themes like online toxicity and the fragility of identity in a hyperconnected society. The hyperdiegetic framework not only enriches the gameplay experience but also underscores the game’s thematic complexity, fostering a deeper understanding of its narrative.

Reflections on Artificial Intelligence in Gaming

NSO also offers insights into the role of artificial intelligence (AI) in creating emotionally engaging narratives. The game's AI-driven character interactions give Ame a sense of psychological complexity, allowing her to respond dynamically to player choices. This interaction enhances immersion, showcasing AI's potential to simulate nuanced emotional experiences (Fossa, 2021).

As gaming technology evolves, AI may further transform narrative-driven games, enabling even more sophisticated and personalized storytelling. NSO serves as a glimpse into this future, illustrating how AI can deepen player engagement and elevate the emotional resonance of game narratives.

Conclusion

Needy Streamer Overload exemplifies the potential of transmedia storytelling, hypermedia integration, and innovative game mechanics to explore pressing contemporary themes. By merging the digital and fictional worlds, the game challenges conventional boundaries, offering players an introspective journey into the psychological effects of social media and online identity.

From the perspective of concept art and visual storytelling, NSO demonstrates the importance of designing immersive environments and compelling characters that resonate with players emotionally. The game's integration of AI, hypermedia, and transmedia narratives aligns with current trends in concept art, where artists and designers must craft experiences that connect deeply with audiences while reflecting cultural and technological shifts. For concept artists like me, NSO serves as an inspiring example of how digital design and narrative innovation can merge to create transformative storytelling experiences.

References

Bolter, J. D. and Grusin, R. (2000) Immediacy, hypermediacy, and remediation. Cambridge, MA: MIT Press.

Fossa, F. (2021) ‘Artificial agency and the game of semantic extension’, Interdisciplinary Science Reviews, 46(4), pp. 440–457. doi: 10.1080/03080188.2020.1868684.

Jones, S., Cronin, J., and Piacentini, M. G. (2018) ‘Mapping the extended frontiers of escapism: binge-watching and hyperdiegetic exploration’, Journal of Marketing Management, 34(5–6), pp. 497–508. doi: 10.1080/0267257X.2018.1477818.

Van Ryn, L., Apperley, T., and Clemens, J. (2018) ‘Avatar economies: affective investment from game to platform’, New Review of Hypermedia and Multimedia, 24(4), pp. 291–306. doi: 10.1080/13614568.2019.1572790.

[moyra-moyu]

ACADEMIC BLOG#4

Analyzing the Narrative Structure in Subnautica

Experimental Narrative in Subnautica

Subnautica represents a departure from conventional video game storytelling, embracing an exploratory narrative format that immerses players through environmental storytelling rather than scripted plot points. Set on the alien ocean world of 4546B, the absence of structured plot progression creates a sense of mystery and discovery, heightening the player's curiosity about the planet’s secrets. This choice fosters a unique emotional connection, as players feel like explorers rather than passive participants (Meakin, 2024; McNinch, 2021).

This approach reflects a broader trend in games toward experiential storytelling, where narrative emerges through interaction rather than passive consumption. The sparse information provided, combined with survival-driven exploration, creates powerful tension as the player uncovers more about the planet's past. This layered design requires players to piece together story fragments from scattered environmental clues, evoking a sense of wonder and accomplishment as they progress (Jackson et al., 2021).

By compelling players to construct their story through collected items and texts, Subnautica integrates its narrative seamlessly with its open-world design. This not only encourages players to explore their environment but also fosters autonomy, making them active participants in unraveling the story. Such autonomy enhances the immersive experience, deepening the player's connection to the narrative and the character's journey.

The Fusion of Narrative Structure and Gameplay Mechanics

Subnautica innovatively combines its narrative structure with survival mechanics, aligning player agency with story progression. To advance, players must dive deeper into the ocean, craft advanced equipment, and explore dangerous biomes, where they uncover narrative elements through environments and artifacts. This integration makes the act of survival itself a narrative experience. Data logs, habitats, and alien ruins illuminate the planet’s mysterious history, enriching the gameplay with storytelling elements (Gutiérrez et al., 2024).

For instance, crafting a rebreather to dive deeper is not merely a survival task but a gateway to previously inaccessible story content. This discovery-driven design intertwines survival mechanics with plot progression, emphasizing the player’s role as an investigator. This synergy between mechanics and story reflects a growing trend in the gaming industry toward more sophisticated narrative integration.

Balancing Freedom and Structured Storytelling

Subnautica blurs the line between traditional and emergent storytelling, prioritizing exploration and discovery over linear plot development. Its open structure grants players the freedom to dictate their own pace, offering an engaging experience for some while challenging the patience of others. This freedom diverges from traditional fixed plot lines often found in gaming (Meakin, 2024).

However, this approach raises questions about narrative coherence. Without clear guidance, players might overlook critical story elements, resulting in a fragmented understanding of the game's lore. The game’s design philosophy encourages players to adopt the dual role of survivor and storyteller, constructing their unique narrative through exploration. This duality invites curiosity while challenging players’ observational skills, embodying the tension between freedom and coherence in video game narratives (Jackson et al., 2021).

Conclusion

Subnautica exemplifies the potential of environmental and experiential storytelling in video games. By interweaving survival mechanics with an open-ended narrative structure, the game invites players to craft their story, transforming exploration into a personalized journey. This design approach challenges traditional storytelling frameworks, fostering emotional investment and a sense of discovery.

As a concept art student, this analysis offers critical insights into the symbiosis of narrative and design in games. The visual storytelling in Subnautica—through alien landscapes, environmental details, and evocative design choices—highlights the importance of art direction in enhancing narrative immersion. This resonates with my work in concept art, emphasizing the role of world-building and environmental cues in creating compelling narratives. By applying such principles, I aim to design environments and characters that not only captivate visually but also enrich the storytelling experience in games.

References

Gutiérrez, F. L. et al. (2024) ‘Supporting Narrative Design in Video Games: Proposal and Case Study with an Educational Video Game’, International Journal of Human–Computer Interaction, pp. 1–25. doi: 10.1080/10447318.2024.2440143.

Jackson, L. C. et al. (2021) ‘Expert writers on how to achieve narrative immersion in digital games’, New Writing, 19(2), pp. 227–239. doi: 10.1080/14790726.2021.1940211.

Meakin, E. (2024) ‘Video game structural layers for narrative design and articulation’, Digital Creativity, 35(4), pp. 321–340. doi: 10.1080/14626268.2024.2411222.

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