moyra-moyu

[moyra-moyu]

ACADEMIC BLOG#7

Unfriended: Dark Web – A Surrealist Approach to Horror

Narrative Structure: A New Form of Found Footage

Unfriended: Dark Web reinvents traditional horror storytelling by adopting a “desktop” narrative structure, where the entire film unfolds on a computer screen. This innovative narrative style echoes the found-footage genre but adapts it to the digital age, offering a unique, immersive experience. Rather than relying on physical spaces, the film builds tension through virtual interactions, creating a claustrophobic atmosphere where characters’ fates are determined by their digital actions (Bloody Disgusting, 2018).

This structure presents a fragmented narrative, reflecting the nonlinear nature of digital communication. The plot progresses through various windows, messages, and video calls, blurring the line between real-time events and pre-recorded footage. This fragmented approach enhances the suspense, keeping viewers on edge while simulating the unpredictability of the internet (Killer Horror Critic, 2018).

Immediacy, Hyperreality, and Hypermediacy

Unfriended: Dark Web effectively employs hyperreality and hypermediacy to heighten its impact. The film’s desktop interface creates a sense of immediacy, immersing viewers in a hyperreal digital environment that feels authentic yet slightly distorted. This combination of hypermediacy—the awareness of the medium—and immediacy—the erasure of the medium—pulls viewers into the story while constantly reminding them of its constructed nature (Newsweek, 2018).

The film’s portrayal of the dark web capitalizes on hyperreality, presenting an exaggerated yet plausible version of cybercrime. By intertwining fictional cyber threats with real-world digital behaviors, the film amplifies societal anxieties about online privacy and security, making the horror feel both surreal and disturbingly real (Bright Lights Film Journal, 2018).

Experiential Realism and Believability

Despite its surreal narrative style, Unfriended: Dark Web maintains a high level of experiential realism. The film’s portrayal of everyday digital interactions—such as file sharing, video calls, and social media browsing—anchors its horror in believability. By using familiar digital environments, the film makes its supernatural and cybercrime elements more convincing, blurring the boundary between fiction and reality (Academia.edu, 2022).

This experiential realism enhances the audience's emotional engagement. The characters’ vulnerabilities are exposed not through traditional horror scenarios but through their digital footprints, reflecting real-world concerns about online identity and safety. As a result, viewers are drawn into a narrative where the line between screen and reality becomes increasingly blurred (Springer, 2022).

Innovations in the Horror Genre

Unfriended: Dark Web pushes the boundaries of traditional horror, offering a new form of digital storytelling. Its unique format challenges the conventions of on-screen horror, replacing physical scares with psychological tension derived from the characters’ digital lives. This shift from physical to virtual horror broadens the genre’s scope, demonstrating that fear can be evoked through modern technology as effectively as through traditional horror tropes (SYFY Wire, 2018).

Moreover, the film’s multiple endings, available across different versions, add an interactive layer, encouraging audiences to engage with the narrative beyond the viewing experience. This innovation transforms passive viewing into an active process, reinforcing the film’s commentary on the participatory nature of digital media (Wikipedia, 2024).

Transmedia and Hypermedia

The transmedia nature of Unfriended: Dark Web extends the narrative beyond the film itself, utilizing social media, online forums, and digital marketing to build a hypermedia environment. By incorporating multiple platforms, the film creates an interconnected web of stories that expand its universe, allowing audiences to explore its themes through various media channels. This approach not only enriches the narrative but also exemplifies the potential of hypermedia in contemporary storytelling (Wikipedia, 2024).

Hypermedia enhances the film’s thematic depth, integrating textual, visual, and interactive elements to construct a multi-layered experience. This interconnectivity mirrors the fragmented, non-linear nature of digital culture, making Unfriended: Dark Web a pioneering example of how hypermedia can be utilized in modern cinema (Springer, 2022).

Conclusion

Unfriended: Dark Web is a groundbreaking horror film that leverages digital culture, hyperreality, and experiential realism to redefine the genre. Through its innovative narrative structure, thematic depth, and transmedia integration, the film offers a unique commentary on the pervasive influence of technology in our lives. By merging surrealism with digital realism, Unfriended: Dark Web not only delivers a chilling horror experience but also challenges audiences to reflect on their relationship with the digital world.

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).

Killer Horror Critic (2018) Review: Unfriended: Dark Web Will Make You Think Twice About the Way You Use the Internet. Available at: https://www.killerhorrorcritic.com/reviewsnews/review-unfriended-dark-web-will-make-you-think-twice-about-the-way-you-use-the-internet (Accessed: 7 November 2024).

Newsweek (2018) Unfriended: Dark Web Review. Available at: https://www.newsweek.com/unfriended-dark-web-review (Accessed: 7 November 2024).

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).

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 presents a scathing critique of patriarchal society by harnessing body horror to challenge gender stereotypes and societal norms. The film highlights the objectification of women’s bodies, turning the historically male-dominated horror genre on its head. Fargeat manipulates visual culture to force viewers into confronting their inherent biases towards women’s roles in society, using the female body as both a literal and metaphorical battleground (The Guardian, 2024).

In The Substance, gender bias is depicted through the transformation of the protagonist's body, shifting from victim to aggressor. By centralizing women’s experiences and reframing bodily horror as empowerment rather than victimization, Fargeat critiques male dominance and emphasizes women’s autonomy over their bodies. This approach places the female experience at the forefront, creating a new lens for gender representation in visual media (Cineuropa, 2024).

Color, Cinematography, and Semiotic Application

The film’s striking color palette and deliberate camera work reinforce its symbolic message. Cold, oppressive hues dominate scenes of male control, while vibrant, visceral reds take over during moments of female empowerment, symbolizing rebirth and resistance (Alternate Ending, 2024). The symbolic use of red not only evokes danger but also signals transformation, particularly as the protagonist evolves from a passive figure into a force of destruction and rebirth.

Semiotics plays a crucial role in The Substance, where every visual element is imbued with layered meaning. The recurring imagery of bodily fluids and visceral transformations symbolizes the subversion of traditional power dynamics. Drawing from theories of symbolism, Fargeat crafts a cinematic language that forces audiences to interpret bodily transformations as a rejection of societal norms rather than mere shock value (Wikipedia, 2024).

Narrative Structure: Subverting Traditional Horror Tropes

Unlike conventional horror films, The Substance employs a non-linear narrative structure that reflects the chaotic deconstruction of patriarchal control. The fragmented storytelling mirrors the protagonist’s psychological and physical transformation, defying traditional narrative arcs where female characters serve as passive victims. Instead, Fargeat crafts a narrative that unfolds through symbolic, cyclical storytelling, reinforcing the inevitability of female empowerment (The New York Times, 2024).

The refusal to follow linear progression allows The Substance to emphasize emotional depth over plot resolution. By doing so, the narrative disrupts audience expectations, immersing them in a disorienting world that forces them to engage with the film’s feminist themes on a visceral level (Cineuropa, 2024).

Media Utilization: Bridging Reality and Surrealism

Fargeat masterfully blurs the line between fiction and reality by integrating media within media, utilizing screens and recordings as recurring motifs. This meta-cinematic approach reflects the media’s role in perpetuating societal norms, while simultaneously criticizing its voyeuristic tendencies. The film suggests that media consumption is both a means of control and liberation, compelling audiences to question their complicity in sustaining patriarchal narratives (A Rabbit’s Foot, 2024).

Surrealism and Body Horror: A Visceral Feminist Manifesto

Body horror in The Substance is elevated beyond its typical grotesque portrayal, serving instead as a surreal exploration of autonomy, gender, and societal control. The protagonist’s bodily transformations are depicted as both horrific and liberating, breaking free from patriarchal expectations that confine women’s bodies to passive objects (Kids in Mind, 2024).

By embracing surrealism, Fargeat challenges the viewer’s perception of reality, blending dream-like sequences with hyperrealistic body horror to illustrate the protagonist’s psychological unraveling. This fusion of the surreal and the visceral creates a dissonance that forces the audience to confront their discomfort, ultimately transforming the film into a feminist manifesto of resistance through bodily autonomy (The Guardian, 2024).

Conclusion

The Substance redefines the horror genre by merging visual culture, semiotics, and feminist ideology into a powerful critique of patriarchal control. Through its innovative use of color, narrative subversion, and body horror, the film challenges audiences to reconsider their perceptions of gender, media, and autonomy. Fargeat’s work stands as a visceral and unapologetic rejection of societal norms, solidifying The Substance as a groundbreaking feminist statement in contemporary cinema.

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).

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).

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).

Wikipedia (2024) The Substance. Available at: https://en.wikipedia.org/wiki/The_Substance (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, also known as Needy Girl Overdose, is a highly innovative visual novel that leverages transmedia storytelling to create a uniquely immersive and complex narrative experience. In the game, players assume the role of an online manager for Ame, a fictional live-streamer whose mental health and personal identity are progressively eroded by her dependence on her audience and her own online persona. Through its fusion of game mechanics with the aesthetics and pressures of real-world social media platforms, Needy Streamer Overload introduces players to a narrative that resonates powerfully with contemporary issues surrounding digital identity, mental health, and the broader phenomenon of “influencer” culture (McNinch, 2021; Gcores, 2022).

This transmedia narrative allows the story to transcend traditional plot boundaries and instead build an immersive “hyperdiegetic” world—a term used to describe narratives that extend beyond a single storyline, encouraging players to view Ame’s experiences as part of a wider, interconnected digital universe (Hyperdiegesis, 2014). By doing so, Needy Streamer Overload effectively bridges the gap between the fictional character's online presence and the real-world online dynamics that many players will recognize, creating a narrative that feels authentic and emotionally resonant (Gcores, 2022).

Through this multi-layered storytelling, Needy Streamer Overload builds a “hyperdiegetic” world—an expansive narrative framework that extends beyond the confines of the main plot to engage with external media forms. By invoking this hyperdiegesis, the game offers a layered narrative that resonates with themes of online identity, mental health, and the toxicity of internet culture (UWL Repository, 2014).

Breaking the Fourth Wall

One of the defining features of Needy Streamer Overload is its ability to “break the fourth wall” between players and the game world. By directly addressing the player as Ame's manager, the game grants the player agency over Ame’s career, lifestyle, and ultimately her mental wellbeing. This mechanic generates a sense of responsibility that is both engaging and unsettling, as players find themselves accountable for the choices that lead to Ame’s success or decline. The game positions itself as an exploration of the sometimes-toxic dynamics of online fame, with the player forced to confront the emotional consequences of social media pressure and public validation on a fragile personality (Gcores, 2022; Everyeye, 2021).

By using fourth-wall-breaking techniques, Needy Streamer Overload encourages players to reflect on their own relationships with digital personas and social media. This approach highlights the psychological toll of online engagement, reinforcing the game’s themes while creating an impactful narrative that challenges conventional boundaries between the player and the character.

The Hypermedia and Experimental Realism of Needy Streamer Overload

Another key element in Needy Streamer Overload is its utilization of hypermedia to enhance the player’s experience. Hypermedia, a term describing digital content that integrates various forms of media, is employed here to create a deeply interactive and multifaceted storytelling approach. Players are exposed to Ame’s interactions in real-time through social media posts, messages, and streaming platforms, all of which simulate the immediacy and pressure of managing an online identity (Bolter & Grusin, 2000). This immediacy draws players into Ame’s world in a way that feels both immersive and unsettlingly real, mirroring the constantly evolving nature of social media itself (Rhetorical Questions, 2016).

The hypermedia approach also reinforces the game’s thematic focus on the relationship between digital personas and mental health. By requiring the player to actively participate in Ame’s online presence, the game creates a narrative where every interaction feels consequential, amplifying the player’s sense of involvement in the character’s story and driving home the emotional stakes of Ame’s journey (Void0media, 2022).

Hyperdiegesis: A World Awaiting Exploration

Needy Streamer Overload also exemplifies the concept of hyperdiegesis, an expansive narrative framework that suggests a broader world beyond what is immediately visible in the game. This world-building strategy encourages players to explore aspects of Ame’s life and the pressures she faces without needing a linear or confined storyline. The game’s many references to internet culture, mental health challenges, and the virtual influencer phenomenon create a world that feels both comprehensive and richly layered, even as it remains contained within the framework of Ame’s experiences (Hyperdiegesis, 2014; McNinch, 2021).

This hyperdiegetic approach invites players to engage with the game’s narrative on multiple levels. Rather than being passive recipients of a fixed storyline, players can actively explore and interpret the psychological and social dynamics that drive Ame’s story. The result is a game experience that feels as vast and complex as the digital world it portrays.

Reflections on the Role of Artificial Intelligence in Gaming

With its use of artificial intelligence (AI) to generate realistic character interactions, Needy Streamer Overload offers a glimpse into the future of gaming and AI’s potential role in creating emotionally engaging narratives. Ame’s character is designed to respond dynamically to player choices, which gives her interactions a nuanced depth that feels authentic. As players influence Ame’s emotional state, the game showcases AI’s capacity to simulate psychological complexity and realism, adding an extra layer of immersion to the experience (Wikipedia, 2023).

In this sense, Needy Streamer Overload offers a forward-thinking perspective on the role of AI in gaming. As AI technology continues to evolve, it may enable future games to create even more responsive and multifaceted characters, allowing players to engage with narratives that feel deeply personal and emotionally resonant.

Conclusion

In summary, Needy Streamer Overload serves as a compelling example of transmedia storytelling, hypermedia integration, and fourth-wall-breaking narrative. By merging real-world online dynamics with innovative game mechanics, the game invites players into a hyperdiegetic world that mirrors the complexities of internet culture, mental health, and social media. This innovative approach not only makes for an engaging gameplay experience but also highlights the potential of AI-driven character interactions and the impact of digital identity on mental health. Through its thoughtful design and rich narrative, Needy Streamer Overload transcends traditional game boundaries, offering players a powerful and introspective exploration of the digital age.

References

Bolter, J. D., & Grusin, R., 2000. Immediacy, Hypermediacy, and Remediation. MIT Press.

Everyeye, 2021. Needy Streamer Overload: Inspira Doki Doki, Non Convice. [online] Available at: https://www.everyeye.it/articoli/recensione-needy-streamer-overload-ispira-doki-doki-non-convince-56178.html [Accessed 6 Nov. 2024].

Gcores, 2022. 打破第四面墙：解构游戏主播女孩重度依赖 [online] Available at: https://www.gcores.com/articles/151069 [Accessed 6 Nov. 2024].

Hyperdiegesis, 2014. Hyperdiegesis. [online] Available at: https://hyperdiegesis.wordpress.com/2014/07/01/the-hyperdiegesis/ [Accessed 6 Nov. 2024].

McNinch, S., 2021. The Subtle Narrative of Subnautica. LinkedIn. [online] Available at: https://www.linkedin.com/pulse/subtle-narrative-subnautica-stefan-mcninch/ [Accessed 6 Nov. 2024].

Rhetorical Questions, 2016. Immediacy, Hypermediacy, and Remediation. [online] Available at: https://rhetoricalquestions2016.wordpress.com/2016/01/31/immediacy-hypermediacy-and-remediation/ [Accessed 6 Nov. 2024].

Void0media, 2022. How Subnautica Immerses You with Its Compelling Narrative and Gorgeous World-Building. [online] Available at: https://void0media.com/how-subnautica-immerses-you-with-its-compelling-narrative-and-gorgeous-world-building/ [Accessed 6 Nov. 2024].

Wikipedia, 2023. Artificial Intelligence in Video Games. [online] Available at: https://en.wikipedia.org/wiki/Artificial_intelligence_in_video_games [Accessed 6 Nov. 2024].

[moyra-moyu]

ACADEMIC BLOG#4

Analyzing the Narrative Structure in Subnautica

Experimental Narrative in Subnautica

Subnautica represents a significant departure from conventional video game storytelling, embracing an exploratory narrative format that immerses players through environmental storytelling rather than scripted plot points. 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 true explorers rather than passive participants (PC Gamer, 2018; 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 to players, combined with their survival-driven exploration, creates a powerful tension that builds as the player uncovers more about the planet's past. This layered design is intentional, as it requires players to piece together story fragments from scattered environmental clues, evoking a sense of wonder and accomplishment as they progress (IDCGames, 2022; Fandom, 2021).

I believe this narrative method, where players construct their story by collecting items and texts, integrates exceptionally well with Subnautica’s open-world design. It not only encourages players to explore their environment but also promotes autonomy, compelling them to actively seek out the plot and the underlying world-building. This autonomy enhances the immersive experience, as players become personally invested in the narrative, fostering a deeper connection to both the story and their 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. In order to advance, players must dive deeper into the ocean, craft advanced equipment, and explore dangerous biomes that reveal more narrative elements through their environments and artifacts. This integration makes the act of survival itself a narrative experience, as players uncover data logs, habitats, and alien ruins that illuminate the planet’s mysterious history (McNinch, 2021; OutsideYourHeaven, 2019).

This gameplay-driven storytelling is immersive but also demands a great deal of player attention, adding layers of narrative interpretation. For instance, crafting a rebreather to dive deeper is not only a survival task but also a gateway to accessing previously unreachable story elements. Such elements of discovery intertwine survival with plot in a way that feels natural, reinforcing the theme of isolation on an alien planet while emphasizing the player’s role as an investigator. This synergy of mechanics and story is increasingly seen in survival games and highlights a movement in the industry towards more sophisticated narrative integration (Void0Media, 2021).

Balancing Freedom and Structured Storytelling

Subnautica deliberately blurs the line between traditional and emergent storytelling, prioritizing exploration and discovery over linear plot development. This open structure grants players the freedom to dictate their own pace, which can either enhance their engagement or challenge their patience, depending on individual preferences. This narrative freedom is a notable divergence from traditional storytelling in gaming, where fixed plot lines often guide player progress (DIVA Portal, 2022; Core.ac.uk, 2015).

However, Subnautica’s approach raises questions about narrative coherence. Without clear guidance, players might overlook critical story elements, leaving them with a fragmented understanding of the game's lore. While this design promotes a more player-driven experience, it also sacrifices the clarity and emotional resonance that can come from a more structured storyline. The game’s design philosophy encourages the player to take on the dual role of both survivor and storyteller, constructing their unique narrative as they progress. In this way, Subnautica stands as both an invitation to curiosity and a subtle challenge to the player’s observational skills, embodying the tension between freedom and coherence in game narratives (New Prairie Press, 2019).

Conclusion

Subnautica offers a compelling case for the future of environmental and experiential storytelling in video games. By interweaving its survival mechanics with an open-ended narrative structure, the game allows players to actively engage in crafting their story, transforming exploration into a personalized journey. This approach challenges conventional storytelling, fostering a deeper emotional investment and sense of discovery as players navigate the alien waters of 4546B. Through its experimental design, Subnautica showcases the potential of games to move beyond traditional storytelling frameworks, embracing a narrative complexity that appeals to both curious and dedicated players.

References

IDCGames. (2022) ‘探索深海：《深海迷航》游戏的技术分析’. IDCGames. Available at: https://idcgames.com/zh/blog/%E6%8E%A2%E7%B4%A2%E6%B7%B1%E6%B5%B7%EF%BC%9A%E3%80%8A%E6%B7%B1%E6%B5%B7%E8%BF%B7%E8%88%AA%E3%80%8B%E6%B8%B8%E6%88%8F%E7%9A%84%E6%8A%80%E6%9C%AF%E5%88%86%E6%9E%90/

McNinch, S. (2021) ‘Subtle narrative in Subnautica’. LinkedIn. Available at: https://www.linkedin.com/pulse/subtle-narrative-subnautica-stefan-mcninch/

OutsideYourHeaven. (2019) ‘The brilliant narrative design of Subnautica’. OutsideYourHeaven. Available at: https://outsideyourheaven.blogspot.com/2019/01/the-brilliant-narrative-design-of.html

PC Gamer. (2018) ‘Subnautica preview impressions’. PC Gamer. Available at: https://www.pcgamer.com/subnautica-preview-impressions-early-access/

Void0Media. (2021) ‘How Subnautica immerses you with its compelling narrative and gorgeous world-building’. Void0Media. Available at: https://void0media.com/how-subnautica-immerses-you-with-its-compelling-narrative-and-gorgeous-world-building/

Fandom. (2021) ‘Storyline’. Subnautica Wiki. Available at: https://subnautica.fandom.com/wiki/Storyline

New Prairie Press. (2019) ‘Subnautica: Exploring the depth of survival’. New Prairie Press. Available at: https://newprairiepress.org/cgi/viewcontent.cgi?article=1927&context=sttcl

DIVA Portal. (2022) Subnautica: An analysis of narrative agency. DIVA Portal. Available at: https://www.diva-portal.org/smash/get/diva2:1766186/FULLTEXT01

[moyra-moyu]

ACADEMIC BLOG#3

Semiotics in It Takes Two: Symbols, Meanings, and Game Mechanics

It Takes Two, developed by Hazelight Studios and directed by Josef Fares, is a co-op adventure that beautifully combines storytelling and gameplay to explore the complexities of relationships. With symbolism at its core, the game incorporates semiotic elements that reinforce its narrative, compelling players to reflect on relationships, conflict resolution, and mutual understanding. This blog examines how semiotics is woven into It Takes Two to deliver both meaningful gameplay and an emotionally resonant narrative.

Symbols in It Takes Two

In It Takes Two, every level, object, and character is steeped in symbolic meaning. The story centers on Cody and May, a couple navigating a potential divorce who are transformed into miniature, doll-like versions of themselves. The game's visual symbols are essential in portraying their internal struggles, providing visual metaphors for emotions like resentment, disappointment, and nostalgia. The couple’s adventures bring them through levels that represent different aspects of their shared life, from a clock tower that reflects the passage of time in their relationship to a dusty attic full of forgotten memories.

As the couple journeys through these symbolic worlds, they encounter various characters, such as talking tools, animals, and household objects that serve as metaphors. These elements subtly highlight Cody and May’s relational challenges, inviting players to explore their own interpretations. By engaging with symbolic representations of issues like time management, self-care, and communication, players are encouraged to recognize the impact of these dynamics on their own relationships.

Meaning and Story Behind the Symbols

In semiotics, symbols are not merely objects but carriers of deeper meanings. It Takes Two uses these symbols to personify Cody and May’s relationship issues, allowing players to experience their struggles firsthand (Hans Pub, 2021). In one notable sequence, a vacuum cleaner stands as a metaphor for unresolved anger and discarded responsibilities, while the garden sequence symbolizes growth and nurturing, both critical aspects for a healthy partnership. The level design and character encounters force the couple to acknowledge and address these issues together, serving as a metaphor for the real-life conflicts that require mutual understanding and cooperation to resolve.

According to theories in game semiotics, these symbols act as “semiotic resources,” inviting players to extract meanings that contribute to a deeper narrative experience (Baidu Baike, n.d.). Each symbol within the game offers players a narrative “tool” for interpreting the couple’s story. Players, therefore, become both participants and observers, engaging in a narrative structure that invites them to consider the emotional and psychological landscapes behind everyday items. This approach aligns well with the semiotic emphasis on the ways symbols can convey complex, often hidden meanings.

Integrating Symbols into Gameplay Mechanics

One of It Takes Two’s most innovative achievements lies in its seamless integration of symbolism into gameplay mechanics. The game is built around cooperative mechanics that require Cody and May to collaborate to progress. This cooperative element is symbolic of the communication and teamwork necessary for successful relationships (Sohu, 2020). Each character is given unique abilities tailored to the level's themes, reflecting how relationships require individuals to bring their unique strengths and perspectives to overcome shared challenges.

Josef Fares, the game’s creator, has described his goal to “redefine” game mechanics by intertwining them with thematic depth, aiming for a truly interactive experience that compels players to think critically about relationships (GameSpot, 2021). For example, in the clock tower level, Cody and May must synchronize their actions, with Cody controlling time and May altering objects within that temporal framework. This mechanic represents their need to synchronize their schedules and priorities, encapsulating the symbolic power of timing and compromise in relationships. This fusion of mechanics and symbolism enhances player immersion, transforming abstract concepts into concrete, interactive experiences.

Immediacy and Believability in Symbolism

The symbolic elements of It Takes Two are not arbitrary but are deeply integrated into the fabric of the game world, providing an authentic experience that reinforces the immediacy and believability of Cody and May’s journey. Each setting feels grounded in their past, as though the challenges they face in these dreamlike worlds stem directly from the realities they have overlooked or dismissed in their daily lives. This grounding in relatable symbolism adds to the game’s emotional weight, prompting players to draw connections between the fictional journey of Cody and May and their own relational challenges (Tencent News, 2022).

Conclusion

It Takes Two stands as a profound example of how video games can employ semiotics to offer immersive, meaningful storytelling. Through its use of symbols, narrative depth, and cooperative mechanics, the game encourages players to reflect on the challenges of maintaining relationships and the necessity of teamwork and empathy. By embedding symbols within its mechanics and narrative structure, It Takes Two becomes more than a game—it is an exploration of partnership, self-reflection, and the power of collaboration. This layered, semiotic approach demonstrates the potential for games to transcend entertainment, offering players a space to explore and reflect on the intricacies of human connection.

References

Hans Pub. (2021) ‘An exploration of semiotics in video games’. Hans Pub. Available at: https://www.hanspub.org/journal/paperinformation?paperid=89651

Baidu Baike. (n.d.) ‘Game semiotics’. Baidu Baike. Available at: https://baike.baidu.com/item/%E6%B8%B8%E6%88%8F%E7%AC%A6%E5%8F%B7%E5%AD%A6/18816069

Tencent News. (2022) ‘Symbolic representations in games: Analyzing the meaning within It Takes Two’. Tencent News, 20 April. Available at: https://news.qq.com/rain/a/20220420A0AO6U00

Sohu. (2020) ‘Exploring the semiotics of games: Narrative and meaning in interactive media’. Sohu, 27 November. Available at: https://www.sohu.com/a/433880360_258583

GameSpot. (2021) ‘It takes two and the relentless positivity of Josef Fares’. GameSpot, 9 December. Available at: https://www.gamespot.com/articles/it-takes-two-and-the-relentless-positivity-of-josef-fares/1100-6485340/

IGN. (2021) ‘It takes two could take 15 hours to complete and should win a world record for mechanics, says Josef Fares’. IGN, 29 March. Available at: https://www.ign.com/articles/it-takes-two-could-take-15-hours-to-complete-and-should-win-a-world-record-for-mechanics-says-josef-fares

[moyra-moyu]

Concept Art- Light and Shadow#2

One of the unexpected joys of this project came from the feedback I received in class. Several people admired my initial sketch for its atmosphere, which I loved too. But, as the project theme was “light and shadow,” I knew I had to move beyond the simplicity of the first draft. Neal, my tutor, provided a crucial observation: although my scene had plenty of light, it lacked depth in the shadows. He suggested balancing the light-to-shadow ratio to 1:1, which I tried, but even then, I felt the shadow wasn’t substantial enough.

Revisiting the composition, I realized part of the problem lay in the structure of the buildings themselves. Originally, I saw the buildings as simple rectangular forms. But studying references and sketching further taught me that real architecture has countless layers, shapes, and textures, all of which affect how shadows form. If I could start again, I’d focus on diversifying the buildings’ shapes from the sketch phase, creating a more complex base that would naturally incorporate shadows and depth.

This feedback-driven adjustment taught me the importance of structure and foundational choices in concept art. By layering detail, both in light and in shadow, I’ve learned to see cityscapes not as static backdrops but as dynamic, living environments where light and shadow are in constant play. This project pushed me to explore my limitations and opened my eyes to the intricate possibilities in architectural detail. It has been a valuable experience, and I look forward to applying more environmental artworks.

References:

[moyra-moyu]

Concept Art- Light and Shadow#1

The theme of “light and shadow” sounded straightforward at first, but starting this project proved more challenging than I anticipated. Without a clear idea, I began with simple sketches and black-and-white compositions, hoping that something would click. Midway, however, I realized my early drafts missed a critical element: shadows. Without shadows, the pieces felt flat and lifeless, which made me reconsider my approach.

So, I turned to references, diving deep into how a single light source could dramatically transform a scene. Inspired by this, I created a new composition—a cityscape scene featuring tall, modern high-rises illuminated by a glowing ring. In my vision, this ring is a portal to another world, radiating a serene, mysterious energy that contrasts beautifully with the darkness around it. My goal was to create a calm yet enigmatic atmosphere, where light and shadow would blend to pull viewers into a quiet, mystery mood.

Working on the architecture itself was a challenge, as it was my first time depicting modern city buildings in this level of detail. Initially, I hoped textured brushes would simplify things, but I quickly realized they couldn’t add the logical, precise structure that buildings require. In the end, I hand-drew most of the architectural details, learning through trial and error how light interacts with different elements

This project has taught me so much about contrast and atmosphere in concept art. While I faced obstacles, it was rewarding to see how the single light source could reshape an entire scene, giving depth and mood to the quiet, mysterious cityscape I had envisioned.

References:

[moyra-moyu]

ACADEMIC BLOG#2

The Outlast Series: A Synthesis of Experiential Realism and Game Mechanics in Horror

The Outlast series stands as a groundbreaking work within the horror gaming genre, combining experiential realism, immersive mechanics, and transmedia elements to offer players a profound psychological experience. Developed by Red Barrels, the Outlast games not only challenge players’ reflexes and resilience but also delve into deeper themes of helplessness and dread through innovative design. This article examines how the Outlast series achieves a uniquely immersive horror experience by blending gameplay mechanics with transmedia storytelling and experiential realism, creating an unforgettable impact on players.

Game Overview

The Outlast series, with its unique premise of "survival without defense," immerses players in environments where they lack weapons and must rely on evasion and strategy to survive. The primary tool—a night-vision camera—adds a distinct layer of vulnerability, enhancing the psychological horror by forcing players to confront their fears without the possibility of fighting back. According to Eurogamer (2013), this design fosters a sense of “constant psychological pressure,” as players are forced to become part of a nightmare they can neither control nor resist. This immersive setup intensifies the player’s connection to the environment, making them an active participant in the narrative rather than a passive observer.

Game Mechanics

The Outlast games’ minimalist approach to mechanics—where combat is entirely absent—encourages players to prioritize stealth, speed, and careful planning. The "fight-or-flight" response becomes central to the experience, with players’ decisions impacting their survival at every step. This reliance on non-violent survival strategies aligns with the theory of "extreme helplessness," in which the removal of offensive capabilities heightens psychological tension and increases immersion (Debategraph, n.d.). As players attempt to navigate deadly scenarios with no tools beyond agility and awareness, they become increasingly aware of their own vulnerability, resulting in a state of “experiential fear” that transcends typical horror gameplay.

Experiential Realism

The Outlast series is a benchmark for experiential realism within horror gaming, thanks to its meticulous attention to environmental detail and atmospheric sound design. From the grim, dimly lit corridors of an asylum to the isolated religious communes, every detail is crafted to amplify feelings of anxiety and foreboding. Intellect Discover (2012) describes experiential realism as the design philosophy that “evokes real psychological responses in players, intensifying their emotional engagement.” In Outlast, details such as lighting, spatial layout, and sound manipulation create an oppressive, immersive experience. The night-vision function of the camera, for example, limits visibility and forces players to perceive danger within confined views, making each scene a potent source of terror.

Transmedia Elements

The Outlast series also employs transmedia storytelling to deepen its immersive experience. Using multiple media forms—video recordings, notes, and other textual artifacts—the games layer complex narratives that require players to actively piece together the storyline. This use of transmedia encourages exploration and engagement as players gather documents, listen to recordings, and record moments of horror through the camera lens. As Eurogamer (2013) notes, the integration of various media adds a “multidimensional narrative that enriches the horror experience,” making Outlast more than just a visual and auditory journey but a profound storytelling experience as well.

Immediacy and Believability

The Outlast series situates itself within plausible settings and themes, ranging from the moral ambiguities of medical experimentation to religious extremism. This rootedness in real-world horrors and psychological fears strengthens the games' “immediacy and believability,” as players can identify disturbing parallels between the fictional world of Outlast and actual societal issues (Intellect Discover, 2012). In Outlast 2, the exploration of themes such as fanatical religious beliefs amplifies the horror by connecting players to fears embedded within cultural narratives, thereby creating a “psychological resonance” that lingers long after the game has ended (Bloody Disgusting, 2021).

Conclusion

The Outlast series stands as a remarkable integration of experiential realism, psychological tension, and innovative gameplay mechanics. By synthesizing transmedia storytelling with immersive environments and challenging game mechanics, the series not only provides a terrifying gameplay experience but also fosters deep emotional engagement with its players. Through these layers of design and storytelling, Outlast has redefined the potential of horror games to provoke psychological responses that extend beyond the virtual world.

References

Bloody Disgusting. (2021) ‘Exclusive: Red Barrels confirms Outlast 2’. Bloody Disgusting, 26 January. Available at: https://bloody-disgusting.com/news/3318564/exclusive-red-barrels-confirms-outlast-2/

Debategraph. (n.d.) ‘Outlast and the theory of extreme helplessness’. Debategraph. Available at: https://debategraph.org/Details.aspx?nid=3934

Eurogamer. (2013) ‘Outlast review’. Eurogamer, 5 September. Available at: https://web.archive.org/web/20130908102709/http://www.eurogamer.net/articles/2013-09-05-outlast-review

Game Informer. (2013) ‘Red Barrels delivers an endurance test in terror’. Game Informer, 6 September. Available at: https://web.archive.org/web/20130909222509/http://www.gameinformer.com/games/outlast/b/pc/archive/2013/09/06/red-barrels-delivers-an-endurance-test-in-terror.aspx

GameSpot. (2013) ‘Outlast review’. GameSpot, 9 September. Available at: https://web.archive.org/web/20130909063325/http://www.gamespot.com/outlast/reviews/outlast-review-6413987/

IGN. (2013) ‘Outlast review’. IGN, 4 September. Available at: https://web.archive.org/web/20130910051125/http://www.ign.com/articles/2013/09/04/outlast-review

Intellect Discover. (2012) Media, visual culture and representation, vol. 5, no. 1. Intellect.

[moyra-moyu]

Concept Art - Nostalgia and Memory#2

In the second stage of creation, I thought that it was not enough to just create a scene, I needed to explain the meaning of the concept to people, so I created another more complete image, I spent a lot of time perfecting it, I wanted to make it as atmospheric as possible, for me, I wanted more readers to understand the Chinese Lantern Festival and culture.

I drew a lot of people in this picture, they all walked in this corridor, the corridor leads to the mountain, there are many pavilions in the style of ancient Chinese architecture on the mountain for people to rest, people spend quality time with their families here, here trying to reach the lanterns flying from the sky. Similarly, the lantern is also a symbol of people's yearning for a better life in traditional Chinese culture, and the lantern is an important part of Chinese New Year culture. Therefore, my work hopes to convey not only the traditional Chinese folk art, but also the fireworks in my memory.

I also drew a concept map, the little girl in the picture received a lantern falling from the sky, which can be regarded as a compensation for my regret that I couldn't get a kite when I was a child, which also corresponds to the beautiful picture of family reunion and Lantern Festival together in the second picture.

Reference:

[moyra-moyu]

Concept Art - Nostalgia and Memory#1

The theme of this work is nostalgia and memory, I remember a lot of things when I was a child, but unfortunately, most of the things in my memory are sad and sad, I wanted to change the theme, at first, I thought that when I was in elementary school, I once created a fantasy creature with my friends, just like Bing Bong, a fantasy creature in Inside Out.

But I didn't go deeper, I recalled that when I was a child, every time I had the Lantern Festival, part of my annual income would be used to create a gorgeous fireworks show in my community. It was the most beautiful fireworks I can remember, and the brilliant sparks stretched across the sky, enduring and colorful. The whole fireworks show will last for thirty or forty minutes, and I remember that the finale fireworks will explode, and then the folded lanterns inside the fireworks will open and fall from the sky, and they will flutter and fall in the air like stars in the sky. When I was younger, I really wanted a lantern like that, and I thought it would bring me good luck for the year.

So I created this concept based on this memory, and I wanted it to be as beautiful and memorable as the last way the protagonist in CoCo to meet his loved ones, shining in the night. I have referred to a lot of pictures and styles of Chinese lanterns, and in my mind, the crowd walking on a covered bridge full of lanterns is like walking on a bridge back to the past, it should be colorful, beautiful, and pleasant, and I want to bring good feelings to my audience.

These are the references I was looking for.

Club Penguin Wiki contributors. (n.d.). Bing Bong.https://clu.fandom.com/wiki/Bing_Bong

Wikipedia contributors. (n.d.). Coco (2017 film). Wikipedia. Retrieved October 17, 2024, from https://en.wikipedia.org/wiki/Coco_(2017_film)

Wikipedia contributors. (n.d.). Inside Out (2015 film). Wikipedia. Retrieved October 17, 2024, from https://en.wikipedia.org/wiki/Inside_Out_(2015_film)

[moyra-moyu]

The Binding of Isaac — An Undisputed Masterpiece of the Ninth Art

Nonlinear Storytelling: A Dark Fairy Tale Unfolded by Player Choice

The Binding of Isaac revolutionizes game narratives through its use of nonlinear storytelling, setting it apart from traditional narrative-driven games. Each procedurally generated playthrough offers a distinct and unique experience, encouraging players to piece together the story of Isaac’s traumatic relationship with his religiously zealous mother and his struggle for survival in a hellish labyrinth (Nguyet, 2016).

Unlike traditional linear narratives, The Binding of Isaac provides players the autonomy to construct their understanding of the story. This non-linear approach not only increases the game's replayability but also fosters a deeper personal connection with the narrative, granting players agency over the storyline and making each playthrough a unique puzzle of discovery and interpretation (McMillen & Himsl, 2012).

Semiotics: The Symbolism of Items and Plot Elements

In The Binding of Isaac, items transcend their mechanical function, offering symbolic depth. For instance, the "Bible" item, which instantly defeats the final boss “Mom,” is a metaphor for spiritual liberation while critiquing blind faith and religious dogmatism (Meloshantani, 2013). Isaac’s tears symbolize both his emotional turmoil and resilience, reflecting the duality of human vulnerability and strength.

The game’s extensive use of symbols invites players to engage with both its mechanics and metaphysical questions. This symbolic complexity transforms The Binding of Isaac into an experience where meaning is continuously constructed through player interaction, highlighting the potential of video games as a medium for profound semiotic exploration (Study.com, 2023).

Media Function: The Duality of Religious Themes

A significant aspect of The Binding of Isaac is its exploration of religious themes. Based on the biblical story of the Akedah, where Abraham is commanded to sacrifice his son Isaac, the game critiques religious extremism and blind obedience through the lens of Isaac’s mother (Study.com, 2023).

This controversial depiction led to Nintendo’s refusal to release the game on its 3DS platform due to its "questionable religious content" (Ars Technica, 2012). By presenting religion in both a reverent and critical light, the game prompts discourse on faith’s dual capacity for salvation and destruction, challenging players to confront ethical and emotional implications (Nguyet, 2016).

Interactivity and Surrealism: Emotional Resonance Through Gameplay

The interactivity in The Binding of Isaac allows players to engage deeply with its surreal elements. The distorted reality, with grotesque enemies and eerie settings, creates a tension between fear and curiosity, making players emotionally invested in Isaac’s plight (McMillen & Himsl, 2012).

This interactivity blurs the line between gameplay and emotional storytelling, transforming the game from entertainment into a medium for emotional exploration. By involving players directly in Isaac’s survival, the game creates a powerful emotional resonance that demonstrates the unique storytelling potential of interactive media (Meloshantani, 2013).

Animation as Realism: A Visual Contrast with Deep Symbolism

Despite its exaggerated visual style, The Binding of Isaac uses animation to depict harsh realities. The grotesque art style contrasts with the dark themes of familial trauma and religious zealotry, emphasizing the emotional core of the narrative (Hrenatoh, 2008).

Animation serves as more than a visual tool; it distorts reality while revealing deeper truths. The surreal visuals, including Isaac’s exaggerated tears and monstrous enemies, allow players to connect with his struggles in a symbolic yet visceral way. This juxtaposition underscores animation’s potential to convey realism through metaphor, making The Binding of Isaac a unique example of serious artistic storytelling (Nguyet, 2016).

Conclusion

The Binding of Isaac transcends traditional gaming boundaries through nonlinear storytelling, symbolic depth, religious commentary, emotional interactivity, and surreal animation. Its innovative narrative approach and philosophical depth reimagine what video games can achieve as a form of artistic expression, cementing its place as an undisputed masterpiece of the ninth art.

References

Ars Technica (2012) Nintendo blocks 3DS Binding of Isaac for "questionable religious content". Available at: https://arstechnica.com/gaming/2012/02/nintendo-blocks-3ds-binding-of-isaac-for-questionable-religious-content/ (Accessed: 7 November 2024).

Hrenatoh, N. (2008) Animation as realism: The power of contrast. Available at: https://www.hrenatoh.net/08c.pdf (Accessed: 7 November 2024).

McMillen, E. and Himsl, F. (2012) Postmortem: McMillen and Himsl's The Binding of Isaac. Available at: https://web.archive.org/web/20170515230543/http://www.gamasutra.com/view/feature/182380/postmortem_mcmillen_and_himsls_.php?page=2 (Accessed: 7 November 2024).

Meloshantani (2013) Human nature through the lens of The Binding of Isaac’s game mechanic. Available at: https://meloshantani.wordpress.com/2013/05/18/human-nature-through-the-lens-of-the-binding-of-isaacs-game-mechanic/ (Accessed: 7 November 2024).

Nguyet (2016) The Binding of Isaac: Rebirth. Available at: https://nguyetswriting.wordpress.com/2016/04/14/the-binding-of-isaac-rebirth/ (Accessed: 7 November 2024).

Study.com (2023) Akedah: Overview & Significance. Available at: https://study.com/academy/lesson/akedah-overview-significance.html (Accessed: 7 November 2024).

[moyra-moyu]

HUMAN AND INHUMAN CONCEPT ART DESIGN#2

I created a total of 13 silhouettes, most of which were mechanical, and I was too concerned with the details of the shape and construction at the beginning, and the creative process was a bit restrictive. When I started creating monsters, I also felt that my modeling ability was lacking.

I didn't feel relaxed and happy until the last three characters, which seemed more reasonable and pleasing to the eye than the previous works.

Then I picked three of them for color division and further in-depth, I tried not to think about the deeper meaning, just let myself think about how to make their shapes more interesting and unique.

For the first role, I tried to replace the dreadlocks with wires, and at the same time echoed the hair with the wire elements of the left arm. The clumsy shape of the right arm is also a contrast, and the lower body is exactly the same as that of a human.

I really like the one in the middle of these three characters, it is combined with the shape of a hammerhead shark and the human body, it has a slender body and fin-like arms, and at the same time the ribs are turned out, and the sharp edges can give it some sense of danger, I think it is very unique and creative.

For the third character, I referenced some wide-hat dress shapes, I tried to make this character both elegant and dangerous, so I added a lot of sharp corners to it, and at the same time, the barrel of the right arm was designed to resemble an umbrella, and some wires were added to the brim to add a sense of technology.

[moyra-moyu]

HUMAN AND INHUMAN CONCEPT ART DESIGN#1

The theme of this concept art assignment is human and non-human, and when it comes to humans and non-humans, the first thing that comes to my mind is machines and humans, and I once did a board game called "War of Faith" in my previous portfolio, which was about the war between mutants and robots, which was a very valuable creative experience for me, so I decided to start with the theme of machines and people, creatures and people.

I refer to some Gundam models for reference, This became one of the inspirations for me to design silhouettes in the first place.

There are many different directions in the combination of machines and humans, some of them are combative, some are functional, some look dangerous and weird, and some look sacred and tall.Through different shape languages, they can reflect different impressions and shapes.

Later I decided to design some creatures that combine humans with other species, such as snakes, plants, insects, etc.

I also referred to some of the designs of the Alien, and I found that the bizarre body proportions were the key to designing inhuman characters.

When creatures and people are the same but do not conform to common sense, it will cause people to have an uncanny valley effect, so I consciously keep the "human" part of the character, which I think can allow the character to establish some kind of connection with the viewer.

In addition, I find it a bit difficult for me to design monsters from the silhouette type alone, probably because I am not relaxed enough to enter the state of design, and it may also be because it is difficult for me to imagine and create things outside of my own cognition, I think I should find more references and practice.

[moyra-moyu]

An emotional concept art design#3

I received feedback from my classmates and mentors in both my major courses and tutoring sessions. I combined the features of three design drafts and made improvements on the basis of the final version. I aimed to make its silhouette closer to the shape of a deer, resulting in this final design. I deformed the fingers to make the hand shape more slender and bizarre, hoping to increase the sense of fear this creature evokes.

I also created a conceptual atmosphere drawing to depict the fearful and oppressive atmosphere when this creature appears.During this period, I referred to these websites.

I referenced the work of conceptual artist Dawid Planeta and tried to create a similar atmosphere for my creatures.

The shape of this monster deer also inspired me, but my work and the concept it conveys are not quite the same.

I have also created a rough 3D model of this creature, but due to time constraints, many details and textures have not yet been sculpted. However, I will continue to work on this piece to the best of my ability in the future.

[moyra-moyu]

An emotional concept art design#2

This is the second stage of my creation, and it is also a stage of relative confusion. In the first stage, I showed some friends and asked them how they felt, and I was lost. I felt that the work at this time was not perfect and reasonable, especially the huge eyeballs and slender hands that made this monster look fragile, and this was not the feeling I wanted to present. I wanted to feel desperate and powerful, and this monster shouldn't seem like it's easy to break. So I started the second edition of the design.

I am still fascinated by the elements of the hands, the thin skin, the protruding bones, the perverted shapes, like a dried corpse between death and living things. I've been thinking about how I can express my emotions and feelings, especially anxiety. One day, after finishing painting, I gradually fell asleep, and in a daze, I kept thinking about the form of the work, and I saw a flower, the petals were arms and open palms, and the stamen was a bloodshot eyeball. I struggled to wake up and jotted down the key words: flowers, arms, eyeballs.

So the next day I designed a second version of the monster, I tried to reproduce the image in my mind, first of all, my modeling ability was greatly challenged, and secondly, it did not achieve the desired effect.

I'm back to square one, how to combine the elements of the hand and the eyeball tightly and harmoniously? I decided to keep it simple and put my hands across in a prayer pattern, with a cavity just enough to serve as an eye socket, so I designed this plant-like monster. Beneath the soil is the corpse it feeds on, and at the same time its roots.