#also the lighting of the room made me think it was the 3d character model of punk from 2k24 and not actually him

[d-lanx]

love how they just cornered him in a hallway

[dreamatduskk]

Hi! Would you happen to have recs for other blogs/artists like yourself? Or even just people who inspire you/your art?

hmm not sure if i can pick artists like myself (cuz its usually just one or two aspects i think are similar (my art is a big mashup of bits and pieces i love)) but i can def share some artists that inspire me! they'll mostly be on twitter tho cuz thats where i follow most of em ;p

@/Belial43157741 : super cool techwear/light mech elements to their art and great colors. their art usually has more minimalist shading which gives it a super clean look while still showing the form of the hard surface elements in their drawings

@/VibeStrike (NSFW) : love how soft their lines are and the shapes they use to draw bodies! once again someone who uses more minimal shading, although they tend towards softer/more blended colors/shadows which has a very soft and touchable look to it. i totally ripped off their paw style cuz i love it so much lol

@/Deceased_Bunny : their work was what got me to use that crispy ass binary brush and chromatic aberration more! I also really like the shapes they use for bodies and their art made me realize i could just give all my characters cute little paws lol. I love their little tableaus/scenes and how they can populate a room. great vibes

@/godbirdart : Their ref/outfits sheets were a huge inspiration for how i do a lot of my backgrounds. i love how they include a lot of icons/text in the layouts and it gives it this really sleek yet maximalist look, somehow balancing a lot of details while not distracting from the focal point of the characters

@/ISANANIKA : similar to prev, love their text layouts and more graphic approach especially with their work for Howl Out (their clothing brand)

@/scpkidd : love their character designs and how they can incorporate so many colors and hues in a piece while still having it look really harmonious. their use of textured brushes (especially in environments) def was one of the things that got me to start using procreate more

@/yapa_yappa : huge fan of their compositions that combine 3d models and 2d illustration/animated elements... not something i've done too much of yet but i really want to start experimenting with that combo more its such a cool effect

[mahou-furbies]

Closing thoughts on Precure All Stars Movie F

Early in the story there was a visual gag with La Mer and Prism that made me think "is this by the guy who directed the best episode in all of Precure (That tropiRouge one)?", so I had to stop and check. And indeed it is the case, and he also directed Go! Princess Precure (one of the best seasons) and the Star Twinkle movie (the best Precure movie), so I knew I was in good hands. And indeed this turned out to be a pretty good movie and a really good anniversary movie, even though it does come with the unavoidable issue that 17 characters is way too many for a 70 minute movie. Towards the end when everyone joins the battle they even have to swap to the 3d models because nobody wanted to animate all that by hand and it looks rough.

Clunky 3d aside this was a very pretty movie, with a lot of beautiful scenery and colours, creative shots and dynamic action. Unfortunately no new forms but at least there was a new Cure design to compensate.

There were also a lot of really good character moments, we did have to waste some time on characters just spouting their catchphrases, but there was still room for funny ways to have the characters from different shows interact with each other. The chaotic muscle brain energy of the Sky-Precious-Summer trio was probably my favourite. Also points for including almost all of my top tier Cures in the main cast! And as a known hater of the over-abundance of friendly and energetic Cures, I welcome the serious edgelord Cure Supreme with open arms.

Due to the short length of the movie and spending a significant amount of it on over a dozen characters just hanging out the story had to run through its worldbuilding, but I don't think that was a huge problem since the character interactions were the best thing anyway, and certainly more interesting than the exact mechanics on how the movies' world was created or where the Cures' ultimate power comes from. But I'd say the film would have greatly benefitted of some 20 extra minutes spent on the plot.

But who cares about the plot, this was very much an anniversary celebration movie, with the theme explicitly being something like "what makes a Precure?" and even a clip show of some of the franchise's biggest moments. Everyone is included in some way, even randos like HapiCha international Cures. Especially the nod towards mascots-turned Cures warmed my heart. Or really making it a plot point that the Cures have mascots in the first place, probably the first time in the history of the franchise that I appreciated it. And in the epic finale (that had music that slaps and some really good action in the shots that didn't use the 3d models) they clearly had fun grouping the Cures by themes, like here we have the mermaid Cures in the same scene for a few seconds! Here are the princesses (and Tsubasa)! Here go the butterflies!

Finally a shout-out to NOT including the stupid light sticks, or at least as obtrusively as usual. I was ready begrudgingly to accept them this time because it is a celebration of the franchise's history after all and they are unfortunately a part of it, but to my delight there were no calls of action directed at the audience.

My final verdict is that this is a very good movie for Precure fans, but probably not that interesting to anyone else. It was also not a very good Hirogaru movie since the Hirogaru girls kind of got buried in the sea of Cures, and didn't get that much of a connection with the antagonist, or even that personal character moments.

[howdy-folks-its-showtime]

April Update!

Howdy! Cobalt here, as many of your guys know It’s Showtime and its characters/story are gonna be turned into a horror game by the same title. So for both Gamejolt and this blog I am gonna start trying to do monthly updates on development. I think it’ll be a good way to put into perspective how much progress is being made each month and keep you guys in the know about how things are going. These are gonna be formatted with work made that month going first and then afterwards any other small announcements or thoughts we’d like to share on development. That or things that weren’t created that month that I basically keep stored in case we have months where progress is slow or I can’t show much behind the scenes stuff. These logs will likely contain personal stuff too, since with me and my partner being the main heads of the project. Our well-being or IRL goals are relevant to how much work is being done. Also while developing Showtime I intend to create other games similar to it, to sort of learn and test the waters + Since those ones aren’t tied to an IP I can actually make money off of them. Something I can’t [or at least not without Mike n Meatly’s permission I suppose] with Showtime or its characters.

April was sadly, not my month, I found out I was vitamin D deficient and got a slight fever. So I spent a lot of days tired and recovering from that. Progress has still been made though, mostly on learning 3D modeling more, I’m almost done with a model I’m making for someone else actually and while it is not perfect by any means… I think it looks really awesome for being my maybe fourth or third model and it’ll be my first truly finished model as well. I also have made good progress on writing both dialogue and summaries of Showtime’s story. I did particularly get ideas for a good chunk of Showy's campaign however, which involves a character I was on the fence about including in Encore!... Until very recently... Art wise not too much has been done specifically this month besides some concept art for cycle designs and some progress on textures for the studio. But that’s okay cause we’re not really at a spot where major progress can be made art wise yet. There’s so much more I want to share but I’ll be doing my best to space out those things out between updates. So no update is too long or too short with nothing interesting in there. Also sorry this is all so vague and non-specific I’m gonna try and get in the habit of actually documenting what work is being done on Showtime monthly from now on, so I’ll be able to be more specific about what parts are being chipped away at.

So onto something that didn’t happen this month but is important we have decided to switch to Unity instead of Unreal Engine 4. I’d like to take some time to explain why and also make sure nobodies too anxious over the change. For one thing, not a lot of progress was made on Unreal Engine, you could hear footsteps as you walked, use a buggy animation to enter a miracle station and the map was just a room full of lights. This is due to the fact while working in Unreal Engine was interesting and I learned quite a bit, I found myself often feeling it was not a good fit for Showtime and that trying to make it so was fighting against the engine as opposed to working with it. Unreal Engine seems to be built for realistic, open world or multiplayer FPS type games. That’s not to say you can’t make anything else with it, but finding tutorials for things I wanted to do was. Basically a nightmare because youtube was flooded with videos on how to make those games specifically. Another big aspect however was the general style. Unreal Engine is great if you want very realistic lighting and have a computer that can tank the sort of weight of that too. Neither is true for me however, Showtime’s characters are all very stylized, our humans are cartoony have clear shapes and most of all, I just want Showtime’s overall style to pay loving homage to 1930’s and general 2D Animation. I think both are really underappreciated and god do I love them. Also I’m making this on literally a laptop, a new one and not a janky one by any means, but still not a desktop. Unreal Engine works great for those who know how to use it and want to create the games it was optimized for, but it’s not ideal for my purposes, Godot seems promising but Unity is just great at specifically doing what I want to do with Showtime. It’s great for beginners to Game Development, has plenty of tutorials for all kinds of games and is very flexible in style. Sadly nothing is better at being Unity than Unity right now. I’m still mad about what the CEO did, and I’m glad for those who were able to switch engines to those with better management but it’s not really an option for us currently. Of course, this will put things back a bit but I’ve already been learning how to build a basic map in Unity and so far have only run into a few issues. Still I would love any advice on how to do this, esp from those who had made games similar to BATIM and other mascot horrors. [I have been thinking of building the maps inside Blender first and then importing them into Unity, to see if that’s easier or practical, but mostly I would love to hear what others commonly do to build such intricate interior design in Unity.] Either way while this month wasn’t terribly exciting by no means was no work done, just nothing too fun to show off yet.

[cassmouse]

My ranking of Kotori's limited SIFAS cards and why

We are SO BACK with the second installment of 'I whine about anime girls in a gacha game'. Kotori this time! I absolutely love her and I had a bit more to say about these somehow than the Honoka cards- Anyway, please enjoy!

4 - Welcome to Kotori's Costume Room

Kotori's second fes card has always left me leaving disappointed, ever since it came out. And this is from a set of festival cards that are generally very strong, to make matters worse. It's not a bad card per se, and could very possibly be someone's favourite, but it's never been for me. The idolised art is certainly pretty, but it stops at just that. This feels like one of those cards that really just feels like it's from an event gacha, not a limited one. It seems a little aimless as a concept, like sure, it's the whole 'costume making' thing with Kotori and her character, but the outfit itself doesn't seem to communicate that like, at all? They definitely could've done something better to show off her established costume making abilities, rather than grabbing a random outfit concept out of seemingly nowhere and making it into this... Underwhelming fes card. The 3D model has a pretty colour scheme and interesting texture usage, and is very nicely faithful to the artwork, but stops entirely at that. The silhouette and general outfit concept feels pretty boring and standard, which absolutely shouldn't be happening for a lim. As a whole, it's pretty underwhelming as a fes card.

3 - Tropical Squash

Kotori's party card pretty much only made it above the second fes card because of it's art. It's a pretty standard idea for a game like this, but oh my lord does it work in this context. The colours and background join together beautifully to make an aesthetic that's certainly very strong and is communicated well instantly. However, my issues start to come in when you look at the 3D model. To start with the good aspects, I really like what they did with the little flourish on the back of the shorts (a common trick for beach themed cards like these to jazz them up a little), and the shorts themselves. The hair too is fitting and the highlight makes it unique. HOWEVER. This is almost all ruined by the absolutely horrendous top and stomach design, which, to me, looks cheap and not at all nice to look at. It might be the simplistic bikini top or the overly bright colours that create this effect, but I really dislike it. The cuts on each side also don't at all help with this, as they feel unnecessary and lessen the outfit. So this was a beach card so close to greatness, but fell short on the chest and midriff so hard that it ruins the whole 3D model for me.

2 - An Elegant Night Party

This is the third fes card and the idolised art is absolutely GORGEOUS. Fitting into a similar category as Honoka's second fes card, with the whole 'elegant and formal' theme, but in my opinion, this art is actually done better. The lighting and unique colours work wonders, and the characterisation, dress and hair are both absolutely on point. From art alone, this is actually my favourite out of the four. However, like the previous card, it fails to continue this good streak with the 3D model. The hair and overall vibes stay very strong and work well in this context too, but it's the dress that really disappoints me, it feels like a 'what I ordered vs what I got' sort of comparison. The frills, which seems to be a large focus in the art, are flattened and look much more lifeless and busy when they're all bunched up. I honestly think that had they padded out this section in particular, this model would be absolutely phenomenal. But no, it's that little detail there that seems to fail the whole thing. But, I will repeat, I am absolutely obsessed with the idolised art itself and think they did an amazing job with it.

1 - Humming Angel

Ahh the absolute classic... Kotori's first festival card. I absolutely love what they did with this one, it's a pretty safe bet of an outfit and it absolutely pays off. Everything from the pose to the hair to the theme in the art fits Kotori beautifully, and as one of the first ever fes cards, it sets a great tone for them. This card is an absolute triumph for Kotori in my opinion, and an absolute SIFAS classic. The 3D model too is absolutely brilliant, with the outfit translating excellently and in a way that completely avoids the issue with the last one, with the skirt especially being still full of life and very, very pretty. The colour scheme is well thought out, with the yellow being the same colour as her eyes and the turquoise being a bit of a play on her usual green colour. And completely unlike her second fes card, the slight simplicity does wonders in this case entirely because it already has a solid concept and it's still very unique in itself, silhouette and all. PLUS the hair in the model was done excellently I am obsessed with it, so overall- It's excellent and I love it

---

Again, tysm if you read this far! I adore a lot of the Kotori cards, and this one was an absolute blast to write honestly. Hope you enjoyed!

[raspberrylix]

anyone still remembers this used to be sims blog?

i do, after like a year since last sims related post (lol) so i decided to build something, that something became a kuroko inspired apartment in san myshuno.

a small apartment in the heart of lively fashion district is a perfect fit for a man and his puppy (fun challenge: count the toys number 2 has hidden around the place!)

this one bedroom apartment has a spacious living space with an open renovated kitchen with newest appliances all the way from the north!

the bathroom is... clean, it's nothing special. let's move on to more interesting things, shall we?

kuroko has already made this place a home and we could not be more proud!

oh the basketball? there are many oh them, which one? the one on the wall? i see.. i was told that things on the wall display under the sconce were gifted to kuroko by his friend from america. there's a reason why such bright red cap is on a display in a room without much red. i think the same friend also left an umbrella when he stayed here last time.

If there are no questions, i'd like us to move on to the bedroom, the views outside are impeccable i'm going to tell you all about it- there are still questions :/ the photos? just few photos kuroko took with his friends during a high school championships. such personal details in the houses always makes me happy

now shall we-- you want me to zoom in on my clients' personal photos? yeah, sure! too bad due to technical difficulties only one survived (i know there's inaccuracies and mixed up jersey numbers, this one photo took me over an hour to get, between sims being sims and game crashing more than once. after noticing too late i was not going to do that all over again for a prop, i'm sorry. let's say kuroko and kagami mixed theirs up and after the photo was taken, everyone had a great laugh, okay?)

at last, the bedroom! the room isn't big so an open closet situations was the best decision. it leave so much more walking space and a puppy can go wild. kuroko went for a double bed, and a string light canopy as the main light source for the room, which isn't always necessary as the floor to ceiling windows let more than enough light from a vibrant city, both during the day time AND night time! the painting looks good too!!

the photo on the bedside table? yup, that's kuroko's friend from america! glad to say i can show the full size photo!

hope you enjoyed our virtual house tour! our next one should start in XYCSY minutes, strap yourselves in!

if you made it this far, i appreciate it so much lmao. miss building a lot, so this was very fun, tired to build a huge house for a few knb characters but after struggling for a bit, i was harshly reminded that i cant build big houses, not even modern. but the joy of looking into what could signal to others that this is apartment that belong to kuroko in a way that i see it was really fun. like finding the sims, finding the outfits, finding the pose as im still not equip to do 3d models. then putting this all together and nearly rage quitting due to game crashing. but that's why we love this game, right? right??

maybe someday ill get to revisit this build and fix the already mention and not mentioned details, but for a first proper post in a while, I don't hate it and that's a huge progress <3

also, in my last story&build post i was complaining about not being able to paint ceilings and now we can! maybe when i post next, there will be more hair color options? nah, im hoping for too much, aren't i.

outfits were made by @twoohugs !

[desultory-novice]

Ask game let's hear it for: 2,8,9

Wah! Thank you!

2 / Favorite Thing About My Style

Probably that it's fast? XD I remember worrying early on that I'd never be a really stunning artist because I didn't have as much time to devote to it as other people. A smart friend told me to just focus on making pieces I could call "complete" in a short amount of time.

Basically, adjust my view of what my "art" would be. And it worked! I have other artist's styles that I like more, but I realized too some of my favorite fanart back in the day was fanart that looked like it was pulled right out of someone's sketchbook. With big chunky lines and little marks and forms that tell you where their focus was!

-

[More Answers Below!]

-

8 / Most Fun and Least Fun Parts

I really enjoy the "concept" phase. You put just anything down, and because I'm a Kirby fanartist, that's usually a circle and then you just keep adding onto it. A pair of triangle horns ears? You've got a Magolor. Big eyes? A Marx. Draw a circle on top? A Meta Knight. Draw a circle halfway below it, a Dedede. Etc...

I'll often pick a perspective at random and then start filling in what the character might be seeing/doing from that!

Least fun is figuring out things like light and where my characters are in space. I've got a vision impairment that means I can't see "depth" in RL so perspective is hard for me. I found a trick for lighting that has you douse the object in shadow and then "carve out" the light, which helps because I can imagine what's on "top" easier than what casts shadows, but I still haven't gotten perspective down. I've even used 3D models but things just get more confusing somehow!! :cries:

-

9 / Finished Piece and Original Sketch

Here's two, based on the fact that I have two different brushes I use for sketching and that leads sometimes leads to two different styles.

The first one, for my Father's Day piece, I did the rough sketch in PaintStorm Studio, which is an under-appreciated little app (It doesn't work flawlessly on iPad but it's highly functional) and is my favorite app for concept sketches because it's like the FocusWriter of drawing apps. Then I imported it to Clip Studio, adjusted the size (I draw my concepts VERY small, usually starting with a box to help figure out how much canvas I want to use) and built it up from there.

The second, I did the sketch in Clip Studio using this soft painterly builder brush I made based on some other artist's brushes. This style of sketch is more "chisel-y" and I'm frequently carving out areas as I draw them by lowering the brush's alpha to zero. It's pretty easy to apply colors on top in this style (as opposed to the previous style, which requires cleaner line work.) I also started this piece as just a solemn, lonely Magolor looking "captured" and regretful. Adding the crown and then adding the reflection in the water came later on.

I was gonna have him be hanging by some Dark Matter looking vines originally, but then I remembered I'd seen someone on JP Twitter say that his magic circles in Soul form were almost like handcuffs restricting his actions, which is why I switched to those.

(You can't see it here from the sketch, but I knew from the beginning I wanted it to be color on a black background.)

One last thing because I think this is probably something weird only I do? (But maybe other novice artists will find it freeing??)

When I'm drawing sequential comics, even for the four-panel ones, because I can lose my train of thought easily, I tend to draw them completely OUT OF ORDER, going with whatever image is strongest in my mind first. Then I just scatter the rest over the page wherever there's room as I get ideas, finally using the lasso tool to re-arrange them later! You can see everything in the proper sequence here!

(You can also see that originally, Marx shows some barely concealed sorrow that Kirby doesn't recognize his childhood friend after all that he's been through. In the finished piece, I had him respond by going all fangs-out crazy instead. He IS a villain after all!)

[askmerriauthor]

Pokemon Violet - Initial Thoughts

Just started playing Pokemon Violet; I was always planning on picking it up in the first place despite not pre-ordering. All the talk of its apparently glitchy nature was disheartening, but I wanted to give it a fair shake all the same. A lot of the time such reports get overblown, after all. I've seen people shriek about a game being unplayable if it drops from 60 frames per second to 59 in a heavy load zone, after all.

That said? After going in with simultaneously low expectations and a giving it a lot of slack?

I'd consider what I've seen so far to be a genuinely impressive feat for an amateur game dev's tech demo. But for a full release? Let alone from a major studio with as much weight behind it as the Pokemon franchise carries? This game is embarrassingly bad.

Literally the very first second of game play and there's a major graphical glitch. The game opens showing off the fancy academy your character will be attending, but it loads in a low-rez stand-in model that snaps into the high-rez version full on screen. During the opening cut scene, characters blink into T-Poses as they load in and out.

As I walked my character out of their bedroom at the very beginning of actual controllable gameplay, the camera glitched and got stuck inside a wall, resulting in a total black-out screen that made me think my system had crashed. The colors of your character's hair, skin, and make-up don't match between the menu screen where you select them and how they're displayed in the overworld's lighting. Said lighting also flickers around or changes entirely full on-screen with no transitions, jolting from one lighting set to another before the scene it's required for actually loads in. Textures out in the world - signs, terrain, the environment in general - are pixelated and blurry to the point of being distorted blobs. The frame rate is absolutely appalling, dropping and lagging down wildly for seemingly no reason, sometimes going as low as less than 10 frames per second. As I have my character walking around in their homeroom, the seated classmates and the books on their desk flicker rapidly into the floor and back up again. NPCs blink in and out of existence where they stand, or walk in jerky 3 frames per second flip book animations. Even as my own Player model is moving smoothly and without any visual issues in the same rendered scene. I'm honestly not even sure how the code could even make that happen; it'd be one thing if everyone in the room was moving in the same jarring, jerky way, but two or three characters are moving normally while the rest are jittering around.

When you go into shops to try on various clothing items, it takes about 10 seconds for your character model to load in and several more seconds to switch between clothing item previews. Even if the only difference is just a color swap. Keep in mind that this was instantaneous in previous games, including games back on the 3DS. If your hair style isn't compatible with hats, your character model just won't show up at all and you can't preview the item whatsoever. As you leave the shop, the character model is loaded in off the ground and jitter-pops into existence with a short drop.

Out in the overworld, different models load in at different distances from the Player and animate at different frame rates. For example, as I walk down the road just outside my house, NPCs load in (a low-poly stand-in version first that snaps into a higher-rez version with no smooth transition) after bushes do, but before trees (which also have the same jerky low-poly to high-poly snap transition). As I walk around, the game chugs down to a crawl at random, often requiring me to reset it entirely. I speak to a NPC out in the field and my game freezes, only to not freeze a second time after I restart the game and talk to them again. When you call out your partner Pokemon into the field to act solo (a core selling point of this game), there's no summoning animation or effects; they just abruptly pop into existence, which is doubly weird because there is both an animation and effect for when they return to their Pokeball or if you call them over from a distance. When I get into battles and there's a third character on the sidelines, the game camera gets stuck on them as it swings to and fro, resulting in the view spiraling wildly out of control for a few seconds. The camera glitches into the terrain seemingly at random or gets caught at weird angles, resulting in constant screen-blocking closeups of my Pokemon's back, or ignoring Player inputs to try and move the camera around.

This game is atrociously bad. I mean, holy shit, the problems it has are basic, fundamental flaws that NEVER should have made it past quality control in the first place. Things that are just basics in regards to coding and design. Especially when considering that earlier Pokemon titles on the Switch hardware (Sword/Shield and Pokemon Arceus) ran just fine by comparison. Previous generations on the 3DS are more stable and better performing than this.

And this is just the basic mechanics in the immediate starting area of the game. I haven't even gotten into design part of the game play experience. That's a whole other kettle of fish and its own post.

[creativeprojectdevelopmet]

Reflective New Learning Over the Project

BLOG 41 14/8/2024

As my postgraduate journey in Game Art and Design in the UK draws to a close, I reflect on a period marked by challenges, innovation, and personal growth.

The course began with the fundamentals of game art and design, including pre-conceptual design, game storytelling, and teamwork. These foundational elements were crucial in establishing a strong theoretical framework that guided my subsequent practical work. As the course progressed, we delved into more specialized and technical subjects such as 3D modelling and game engine mastery. These classes not only honed my technical abilities but also expanded my perspective, allowing me to continuously improve my portfolio and share my work on platforms like Artstation.

In this final project, I learned the proper techniques for character topology, specifically starting with a T-pose and then using skeletal binding to quickly pose the character. Additionally, I significantly improved my proficiency with Unreal Engine. Previously, my use of Unreal Engine was limited to just placing objects in the scene, but now I've made substantial progress in controlling fog, lighting, and rendering.

Although I have made great progress, I realize that there is still room for improvement. Technically, although I have acquired strong 3D modeling skills, I still encounter challenges in practical application. For example, I sometimes have problems with character line layout, and I have problems when baking high-polygon and low-polygon models. In addition, due to negligence, UV mapping errors occasionally appear, such as incorrect quadrant division. These may seem like small details, but they highlight the need to continue working hard. However, a lot of progress has been made in optimization, from the previous 100,000-face low-poly to 40,000-face low-poly.

Lastly, I think that in this year of study in the University of Hertfordshire, besides maturing my technical skills, I also realized the importance of drawing. When creating characters, it’s crucial to understand the structure of the human body and the distribution of muscles to create better models. This is not only important for sculpting characters but also for understanding textures. Many textures need to be drawn out to be done well. Drawing can enhance your understanding of textures. In the past, we only required proficiency in software, but now I gradually realize that the upper limit of 3D art production is determined by one’s drawing skills.

Finally, I recognize the importance of continuously updating my knowledge to keep pace with industry developments. Game design is a rapidly evolving field, with new technologies and ideas emerging constantly. To stay competitive, I must commit to ongoing learning. Therefore, I plan to approach the future with a mindset of continuous education, remaining attuned to the latest trends and advancements in the industry.

My postgraduate experience in the UK's Game Art and Design has not only enriched me with extensive knowledge and skills but also clarified my career aspirations. I've grown into a more professional and confident game designer, and my determination to excel in this field has only strengthened. Moving forward, I am committed to further enhancing my abilities and contributing to the game design industry. Additionally, I hope to explore the intersection of game design with other fields, creating more possibilities and adding value to society.

[roboromantic]

idk if it was just the bad timing of when we were working w/Unity vs Unreal or if it's bc we're making interior props now vs houses or WHAT, but I am finding Unreal soooooooooo much easier to work with. I do still have the problem of wanting 3D modeling features when this is y'know, a game engine, but I actually am excited to work more on this project.

All we had to do for the first part was make some props for our rooms but I kinda. didn't make that many bc I Had to figure out how to make an interaction prompt and make the character teleport when you interact with it

also I spent WAY too long try to make a hollow sphere out of geometry (which is the only thing we were supposed to use for models) and the normals just REFUSED to work. I'd try to flip the normals on one object and random faces on other objects that absolutely were not selected would flip.

For the hollow sphere I made one sphere with the normals facing inwards and a slightly larger one with the normals facing out bc there doesn't seem to be any way to all I should have to do is put the smaller one inside the other. no matter WHAT I did, the normals would flip or just fucking. disappear entirely or something.

. I am realizing now that using a subtractive probably woulda worked just fine but also I feel like I tried that and had issues? I think I tried to change the render order and it changed for EVERY subtractive, which didn't work for the others

I eventually managed to get it to work by using shapes instead of geometry but geez. I wish I could just make models in Blender and import them 😭

We originally had to make 3 rooms with 3-4 props per room and between me not having much time or any real ideas and getting distracted by trying to figure out how to do stuff that is absolutely not relevant to the project my rooms uh. ended up rather sparse compared to other people's levels

I think honestly now that I have more time, experience, and ~inspiration~ I might just remake most of the level lmao. also we were taught how to make emissive textures today so you better BELIEVE I'm gonna use those everywhere. gonna make an evil scientist lair with Ominous Glowing Tubes and a Giant Evil Mech

My first room was vaguely nature themed bc well. we could use the default props and it wasn't hard to make a cylinder, slap a wood texture and two bushes on it and call it a tree. or take a couple cylinders and give them brick and water textures for a pond

so one thing I wanted to do was make a sun lamp as the source of lighting but what if. Evil park where the sun lamp has an evil grin. maybe try to make a basic mutant animal thing. keep the nature theme going while tying it into the idea of an evil lair

Room 2 didn't get much love but I wanted it to at least hint at a puzzle, so what if I made something basic where you have to solve the (very easy bc I ain't got THAT much time) puzzle to open the door to the next room

The next room was meant to be an art gallery but I only had one abstract statue I made and the default prop statue with different materials applied and scaled up, lmao. tbf I used that as the object you interact with to teleport back to room one so. anyway it can be an EVIL art gallery showcasing EVIL trophies of the scientist's's's's heists

we have to add 2 more rooms (and they have to be physically connected, so I can't just use the teleport to move to room 4 😔) so I maybe interacting w/one of the art things opens a ~secret entrance~ to the big EVIL lab.

and then from there I kinda wanna make an elevator that takes you to room 5, aka the Giant Evil Mech bay.

is this overly ambitious? almost certainly! am I gonna have fun doing my damnedest to get it to work? absolutely!

[mi5018tomberry]

Project Ideas

Here are some of the first ideas I scribbled down initially inspired by the artist David Zinn.

I thought I could explore something like the micro-world within the lockers in Men In Black 2 but the amount of detail for something like this would be excessive and less focused on compositing and may become more of a modelling and animation project.

This is the main video which inspired this train of thought, its all about the making of Little Big Planet. The game was stylised and build using simple blocky shapes with loads of textures applied and then dotted around with a sandbox feeling and I thought that I could try and make something of this sort for this project using a mixture of assets and real world interaction.

I wrote some more notes about location ideas and plans for using a small 3D character and which environments would work for this project.

These are some of the locations I could use for this animation with some experimentation with reflections, lighting and some VFX added on top to transition from location to location with portals or cannons.

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A post shared by Rabbert (@rabbertanimations)

If I go down this route then I could try to make something like the video above, the animator uses a mixture of 3D and 2D animation with a lot of different techniques that would be useful to learn for compositing.

An alternative to the small world aesthetic is exploring campus with a video editing approach in mind with slightly less focus on animating characters. Taking what I have learnt about District 9's approach to VFX I could try to integrate VFX without turning it into the show piece of the project. The image above are some notes related this idea keeping in mind my limitations and which locations could work best. The idea I want to run with if I take this approach is an experimental approach trying out different types of effects within each shot and combining them together.

The notes here further explored this idea with a focus on a POV horror/experience inspired by the course closing down and the surroundings are fading with it with shots that have people and objects glitching, disappearing and transforming unnaturally until we are found in a void at the end like the image above.

The main locations for this project would be the computer lab, classroom and I would also have to used the green screen room for the void at the end if I go down this route.

Above are some video tutorials or references which I want to try out for the VFX side of things as I think it would be a great way to push myself into video editing and VFX which I have not dabbled with much as of yet. Ideally I want to find a way to execute my best ideas for these two plans because I may find that focusing on smaller scale shots may be limiting for a module about compositing which aims for layers upon layers of different effects and techniques to make something really believable.

For the glitch/matrix style shots, the video above is one of the shots that would look visually amazing if I could make it work with a lot of rotoscoping and a 3 static shots one of which is a clean plate as reference for backgrounds and to not mess anything up. This relates to one of the ideas I wrote down in my sketchbook with a discussion between student and teacher and there is a jump-scare of someone coming through the teachers face saying something like "wake up" or "its over".

Whilst doing research I also found this post on reddit with someone doing compositing of their own looking for feedback to improve a shot of Godzilla composited into some of their own footage. The advice was really interesting because it talked about adding a camera shake to account for each footstep of Godzilla which made me think more about the environmental implications of the VFX added to a shot and what extra thought must be put in to make the shots feel real:

Camera Shake

Blurring

Smoke/Dust

Reflections

Lens Flare

[kritzenkriegen]

Process

(Finally, quite late)

I'm happy to see this piece come to fruition, I saw the food stuffs and just wanted something with Heavy and Medic in red morning light.

Alternative Shots

I threw together some neutral lighting just to get an idea of the effect of the red lighting, and for my amusement

And some alt angles because they're cute at any angle, honestly

Big fan of this corner specifically

Lighting Breakdown

We've got 17 lights at work here, with 2 "suns," 13 fill lights, and 1 rim light.

Key

(I always love seeing these. They're so scary look at Heavy's face)

Fill

As expected, the fill lighting is pulling most of the weight here. While maybe not the most realistic, I wanted lots and lots of ambient light bouncing all over the place for an idyllic red-sun morning scene

Rim

The rim light was very simple this time, since there's no light source coming from behind the characters other than what's bouncing off the walls. But yet again it's what really ties together the characters looking defined and nice:

Scene Dressing

I arranged everything in this scene from scratch! The map I used was the default, empty dark room. There's not much to it other than four walls and what you can see, but — it was a new and honestly challenging experience for me. Playing around with all of the different parts, their lighting, their arrangement, etc was definitely more painstaking than the very simple scene in Evening Dust and really brought out the worst of my perfectionist tendencies. I'm not gunning to make a prop-heavy scene again any time soon.

One element that I decided I wanted early on was that dappled effect you get from sunlight shining through trees; it's pretty and without it, it seemed like the outside was bare and empty.

It looks nice on the inside but from the outside, it's a bit surreal combined with the infinite darkness, ha

Archimedes actually has a tiny bit of motion blur on him, which is only possible in SFM through animation. This was a pain in the ass to get right (also note those wonky dark polygons I had to fix in post)

Now my favorite part—

I love seeing progress. I even made a fancy little gif cause I'm normal. There were 73 total renders, though granted dozens of these were near-identical as I tested subtle changes

Room for Improvement

There seems to be some disparity between the background and foreground blurriness that bothers my eyes, which I’m also not sure how where/how to fix. Volumetric lighting? Messing with the aperture more? Messing with the depth of field in subsequent pieces, it seems that there might be a benefit to not having the subjects perfectly focused but rather also slightly out of focus — maybe to cover up the '3D model'ness of it all. Also the FOV is kinda whack, and if I wanted to change it I'd have to rearrange all of the set pieces.

I don’t think the vase thing of lillies particularly fits here but of all things I was too lazy to go find something better lol

Heavy’s face could be lighted better if I wanted it to be. With the angles it’s a bit polygon-y here. His expression isn't great either but I'm alright with it. Meanwhile Medic's expression literally never changed from the first render lol

Coming off a rough couple of work weeks so sorry for being so brief with everything🤧

Steam Workshop Sources

Meet the Medic - Official Model Revamp

Casual Heavy

Kitchen Props Counters, Cabinets, Misc

Restaurant Chairs

Dining Set

Cutlery

Lillies

Frühstücken

HeavyMedic breakfast? HeavyMedic breakfast.

[josephfebin]

Creative development: Reference for montage shot-3D-Blender

Character animation, lighting, render in Blender

I downloaded a 3D character from a library in Blender, I planed to ude 3D software and scene. I originally wanted to include this character in my animation, but it didn't fit well with the other elements, so I decided not to use it for the main animation. Instead, I thought it would be helpful to keep it as a reference. This means I can use it to guide me when I'm creating tricky camera angles and complex actions in my animation. It's like having a model to help me get those parts just right.

Above is a trial scene I've animated for the reference of complex rotational shot. I've used some techniques and tutorials to create this scene. Sources are below.

Used this tutorial to rotate my camera.

This helped me adding light to the scene.

Below tutorial helped to render my video.

In my creative journey and adding 3D to this 'PULL', I came across few tutorials that became a game changer. One of this tutorial taught me how to make my camera move in captivating ways. Think of it like how a filmmaker decides where to position the camera for a movie to make it more interesting. Learning this camera movement technique added a whole new dimension to my animation. Suddenly, my scenes felt more dynamic and engaging, as I could show them from various angles and perspectives.

But I didn't stop there, without adding lighting to this I felt uncomplete, even I've no use of lighting reference to trace the angles, to getting familiar with 3D also I got a spark of curiosity within me. I decided to explore the world of lighting in my animation. It's like when you adjust the lights in a room to create a particular mood. With the help of another tutorial, I discovered how to use lighting to give my scenes depth and emotion. Shadows and highlights became my tools to paint the right atmosphere for my story.

Also with setting camera and lighting , I felt more prepared and needed to render the scene. That's when I found a tutorial on rendering, which is like taking all your work and turning it into a finished video. This final step was like putting everything together. It made my animation complete and ready to share. This journey of learning and applying new skills not only improved my work but also fuelled my passion for creating and telling stories through 3D animation too.

Bibliography

www.youtube.com. (n.d.). Blender Beginner Tutorial - How to Render in Blender - Blender 3.4. [online] Available at: https://www.youtube.com/watch?v=RRCoKHDQTd8 [Accessed 3 Sep. 2023].

www.youtube.com. (n.d.). Blender Beginner Tutorial - Lighting Tutorial - Blender 3.4. [online] Available at: https://www.youtube.com/watch?v=R1tv1mgiOkQ [Accessed 3 Sep. 2023].

www.youtube.com. (n.d.). Blender Tutorial : How to Rotate or Orbit Camera Around Object in Blender 3.1. [online] Available at: https://www.youtube.com/watch?v=sb_FxJX4Jns [Accessed 3 Sep. 2023].

[rohitgurumith]

REFLECTIONS ON MY LEARNING

The Practice 1 Module and Semester A will be coming to an end in a few days and i just want to take a step back to reflect on my learning and my progress as an animator in these past few months.

I made alot of mistakes, but i also managed to learn from those mistakes and came back stronger and Its safe to say that i've definitely improved in terms of both knowledge and technical skillsets. I will be listing all the new things i learnt in all the 5 briefs and the 2 developed projects this semester,and share how this module changed my way of working overall.

BRIEF 1 : RED VS BLUE -

I still remember this week very clearly because it was my first week into the course and i was very confused on how to approach things. I also never had the habit of storyboarding, concept art and taking references until when i had to work on my portfolio for applying to the course. I would usually dive right into working when it came to my previous projects.

So i was still fairly new to all that and i only had a week and a half to complete the storyboards,concept designs and the animatic. another problem i had was the fact that i couldnt think of a simple concept for the brief. i just kept thinking about complex storylines that were impossible to fit in just 30 seconds. so when alex asked me to redo the whole thing from scratch with a new concept, i was terrified since i only had 3 more days until the submission date.

This is where the fearless hardworker in me started grinding and i got the job done in 3 days with a simple yet efficient animatic with good storyboard, concept art and fairly decent designs compared to the previous one. i was appreciated by the class and alex for picking myself back up so quickly.

I studied animal head movements and looked at some reference material for the wings of the chickens so i can judge how they would move from a certain angle. i also studied the facial expressions of animals in cartoons which was also pretty helpful.

BRIEF 2 : PLACES OF THE MIND -

For this brief, i once again intended to keep the concept very simple but complex at the same time. what i meant by that was the fact that the thought process and coming up with the idea would be simple (since i based it off of my real life experiences and how my mind works sometimes) and the workflow would be complex (2D character with 3D backgrounds, dynamic camera movements and animating 3D objects)

I got some 3D models to help me find some key poses, saving me alot of time. I also looked at and refered to several street layouts until i found the right one. I would say that i learnt to brush up the timing skills since this animatic and the movements of the character were highly dependent on the beat of the soundtrack used.

BRIEF 3 : MEMORY AND NOSTALGIA -

For this brief, Alex advised me not to use any manga styled characters and he wanted me to find my own style of character designing. So i did my research on different styles of character designing and did alot of rough sketching until i found the right one. though the animatic and concept itself didnt achieve what it was intended to, i still got appreciation for trying something new with my character design

BRIEF 4 : OPTICAL SOUND -

For this brief i only had 24 hours to do everything since i was preoccupied and not in a good place mentally during that week due to a family emergency.

My roommate was talking about cleaning our room soon and that sparked the idea in my head. i looked around my room, quickly modelled it in 3D to get the perspectives right and made a simple animatic of someone cleaning thier room when listening to music. that was the simplest concept i could think of and get done within 24 hours. i ended up completing everything on time and the class absolutely loved it to the point where they suggested me to develop it further.

BRIEF 5 : LIGHT AND SHADOW -

For this brief i wanted to use a "Tom and Jerry" (Hanna,Barbera,1980) type concept where a mouse tries to steal a snack and get away with it.

I had to study the positioning of shadows according to different sources and angles of light since this took place in a dark room. I also looked at alot of dark room references so it would help me find the one that fits my environment and lighting placement.

RED VS BLUE : DEVELOPMENT -

I wanted this to have a studio ghibli artstyle but also wanted it to have detailed compositing. So i decided to create an amalgam of different styles i researched ,adjusted it according to my will and added my own touches to it. I inspired my color palette from studio ghibli, did the compositing in my own way until it got a lively and vibrant look. I also learnt a new style when doing my background paintings for this animation

PLACES OF THE MIND : DEVELOPMENT -

This was the most challenging project for me so far because i learnt alot about the value of proportions when working with a 3D environment. I also dove in depth with the compositing since i wanted to make the environments look as vibrant and flashy as possible.

CONCLUSION :

I would say that i have a broader mind now with the capability to think about alot of simple quick ideas rather than lengthy and complex ones. I learnt new things from Sean's workshops and Alex's seminars. I also developed the habit of having a backup plan just as good as the initial one just in case something goes wrong. My backup plans have worked and been recieved well by my tutor and my class 3 times in this semester and its safe to say that i have inherited alot of habits that a professional animator should have and i only intend to fly higher and learn more new things.

[focsle]

Hi! I really enjoy your coming Going to Weather and your art style. You always do such a great job drawing scenes and backgrounds. Do you have any advice on how you do it? Especially rooms. Sincerely, someone who struggles with drawing backgrounds.

Thank you so much! I'm glad you're enjoying it. Long post ahead.

For technical advice I’m not a good resource because perspective is the bane of my existence and I eyeball it poorly or half-ass trace the base shape of a room because I hate straight lines and rulers so much lol. Some people draw floorplans from a birds eye view and then do crazy things with transform tools. Some people make 3d models of rooms to use. I don't have the energy to learn how to do that effectively but if I did...THAT'D HELP. Maybe someday. I remember I once had a professor who was like 'your perspective is wonky but you put so much detail into it that I don't think people will really notice or care that much' so I have RUN WITH THAT haha!

But I do have advice for how to get excited about backgrounds. Because I also struggle with backgrounds. I've found the two most helpful things to keep in mind are:

The background is a character too.

Reference reference reference! References will surprise you and make the world richer.

Backgrounds can tell a lot about the world your scene is set in, and thinking about them having personalities and also being part of the narrative can help you design them. For instance, I really wanted to show the difference of means between Ezra and Barzillai, that they're both career whalemen but that they're operating under quite different circumstances.

I used the backgrounds to tell that story without words. They have a purpose just as much as the characters do.

When building out my focsle, I liked thinking of what a space that was continually inhabited by a bunch of late-teens/early 20s lads for years at a time looked like, the mindsets people were in on those ships, and how their presence would be left behind. Also inspired by graffiti seen in the past and present.

I also always try to push my backgrounds just a LITTLE more each time, which is easier said than done. To make my streets a little more crowded, to make the focsle just a little more chaotic, to make the waters just a little rougher. You gotta find what makes it fun for you, and what makes it fun for me is thinking about what story the background tells. I like thinking of practical elements too like...where do they put their stuff, what's their daily routine and how does that show in the space, what sort of art do they like to have, etc.

But to build those backgrounds, reference is so important. I've got about 1500 reference pictures for GTW and counting. And it's important to gather all kinds of reference! Photos, objects, other illustrations, written descriptions, videos, physically going to a place, all of that can help build one's visual library to craft places that feel like characters. Think of yourself as a set designer and you’re going shopping for all the little things you want to tell that story.

For instance, here are reference photos I took in various mid 19th century houses, that I cobbled together to make the Captain's house:

I remember really liking this bed I saw in a historic house and wanting it for my own room. So I did the next best thing and put it in a fake room.

I love this reference of a focsle, too! I can't wait to draw the inside of a bunk where someone's hanging their hats or storing their pans. Little authenticating details like these that I wouldn't necessarily think of can be discovered in reference. It makes everything feel more real.

I remember when I made my pilgrimage to the Charles W. Morgan one of the many things that struck me was how much light deck prisms brought into the living spaces below. So that was something fun to keep in mind any time I was drawing a scene below deck during the day, how I could play with that lighting.

Which brings me to my last bit. I think if you can go to a place that embodies the settings you want to work in, that's so important too. Just spending time there. Taking in the vibe. Thinking about what it sounds like and feels like and smells like. Thinking about how the light falls. And to hold on to all those little things, and to keep them in mind as you draw those backgrounds. You can't exactly draw a smell or a sound, but when you think about those things, you can think about where they're coming from and draw that. A clock ticking, pipe smoke, water sloshing, fire crackling. It's all there. I personally don't strive to create the most technically-sound looking rooms, but I really do try to make rooms that get across a Vibe and that feel lived-in.

Hope that was helpful! And thank you for reading the comic!

[theash0]

not sure why I can no longer see the preview but: https://youtu.be/w_PtuVjsHCU

*special thank you post to the team*

Holy shit it’s been two years. Two whole ffing years. But we’ve done it! I think just that is enough to be proud of. And then, just look at what we made!!! <3<3<3

@thesteelchimera thank you so much for your insights, administrative skills and just being a genuinely good person, always ready to help, always there to listen and offer advice. You were always there, and it’s very appreciated. Oh! And let’s not forget your diligent work on the script.

@broken-risk-assessment-module Is there anything you can’t do? Always a solution ready. Can do anything. Did do everything. How can you do everything? Special thanks for taking care of the burden of editing (amongst other things). Which, as you know, was never my thing. But you did it wonderfully! Not to mention animating several awesome scenes, from mb to scu to Mensah.

audzilla thank you for your wonderful animationwork. The fight scene in the hall is still a masterpiece I enjoy just looking at every time. And thanks for letting me join in there for those funny, ridiculous frames for the extras! Ah yeah 😊nothing like thugs getting their ass handed to them. We had a good time!!

@nirelaz, You came later, and it was a good thing you jumped in when you did! What you missed of the begin process you well made up for in animation expertise and you really helped us through that mid-way slump, taking care of important tasks in finishing scenes like adding shadows etc. but also with sound! Thank you so much!

@alex-van-gore you fucking power animal. I’m always amazed at the sheer volume you can put out. Walkloops, murderbot, Mensah animations. And lining.. yes, my arch nemesis. You can do that too. Aah. Remember you were worried at the start of this, because you had no animation experience. Hahaha! Well, you sure do now!

@sometimesihaveideas, soul. Just your clever and even thinking was always a pleasure. First, you helped us out so much with your excellent 3d models, and then it turned out you had talent for sound too! It was a pleasure to work with you, always.

@chimaerakitten I think it should be said again how wonderful your interface work is. The overlays just add so much, yet still leave enough room for the animation to glow. Special kudos for those. And then there is the background. Holy shit what a background. I hope your loved once can vouch for your sanity. I hope you pulled though. Yet, I am not sure how.

@groovyleviathan the background work you did on the stairway scene (CSU jumping down) has become the blueprint for all our csu-fight sequence scenes. It was just so pretty. I hadn’t realized a flight of stairs could look that fabulous. I hope you know…

Cephei I really loved your positive can-do attitude. And damn, did you deliver! Awesome work on Mensah animation!

Technicaltoad your wonderful conceptart really inspired us, especially that sky on planet! It just gave joy just to look at. But, of course, the thing I’m most thankful for is you saving my ass on the lighting in the opening scene. Ooh! Thank you so much, I don’t think I could have figured it out without you!

@spiralofdragon You’re such a talented artists, and I loved your character designs. Working out the gun design to 3d from your designs was so interesting! I hope your comic dragonmage (on kickstarter) will become a great success!

Lue thank you for breathing life both into Ratthi and into The Worm! Such extremes, so well done. I hope you are well my friend.

@souldagger thank you for sharing your beautiful work on character design. It was a joy!

@rosewind2007thank you for always being there, for always being willing to help out. And the lists. God, sometimes I lost track of so much I didn’t even know who worked on what anymore. But, you had the list of tasks, and an answer!

@kesbeacon you had to bow out early due to real life responsibilities. Nevertheless thank you for your input, and of course, voice work!

@imaginariumgeographica you also had other engagements. But your voice of ART still rocks!

Vanessa how cool was that? Halfway our star-background artist got a job at an animation studio… making actual animation backgrounds!! Yeah, that really rocked. Unfortunately, that of course meant you had zero free time to help us afterwards. And yet, any chance you had, you still stopped by to check how we were doing, even offered your holidays up for us. Thank you, truly!

Verso you promised from the start that you’d take care of our public outreach and multimedia. And when we finally came to you. Like, over a year later, you were still ready and roaring to go!! That was amazing. It really gave us fresh energy, to have someone new looking at our project with fresh eyes and saying It fucking rocks!! Thank you! And of course, for all the work putting us out there!

Jude I know right! It’s been so long. You did some amazing work on our backgrounds! And they’re going life! I hope you are well.

Uovoc thank you for sharing and helping us with character designs! I really enjoyed the dry humor of your murderbot designs. Of course, I’m not sure it would have worked with us hiding its face, but it still would have been cool to animate.

THE MURDERBOT DIARIES: A Fan Animation

Subtitles in English, Spanish, French, and German.

In early 2021, as talk of a Murderbot Diaries adaptation was underway, fans of the series started asking each other questions like, "What would we want to see from an adaptation of our favorite book series?" and "Wouldn't it be cool if this or that scene was animated?" and "Hey, don't YOU know some things about animation?" and "What if a bunch of fans got together to make a Murderbot fan animation?"

Two years of teamwork later, the Murderbot Diaries Fanimation Project presents our labor of love: a fully realized animation adapting scenes from the first four novellas into a trailer, dedicated to showcasing everything we love about the story of our favorite rogue SecUnit.

Make sure to leave a like and share the video if you enjoyed our animation! And tell us what you liked about the video on our social media:

Ask the team on Tumblr | Instagram | YouTube

CREDITS

TheSteelChimera @thesteelchimera - Voice of Murderbot, Production Coordination, Script

Alex from Mars @imaginariumgeographica - Voice of ART Kebi/SpiralofDragon @spiralofdragon - Voice of Mensah, Character Design

Verso - Voice of Ratthi, Social Media

Kes @kesbeacon - Voice of Gurathin

brokenRAmodule @broken-risk-assessment-module @contakaidigon - Production Coordination, Backgrounds, Animation, Script, Storyboard, Character Design, Editing, 3D, Sounds & Music

theash0 @theash0 - Production Coordination, Animation, Editing, 3D, Graphics & Effects

Cephei - Backgrounds

ChimaeraKitten @chimaerakitten - Backgrounds, Graphics & Effects

Jude - Backgrounds

Livyatan @groovyleviathan - Backgrounds, Character Design Lue - Backgrounds, Animation

Nirelaz @nirelaz - Backgrounds, Animation, Lighting, Sounds & Music

sometimesihaveideas @sometimesihaveideas - Backgrounds, 3D, Sounds & Music

TechnicalToad - Backgrounds

Vanessa - Backgrounds, 3D

Alex van Gore @alex-van-gore - Animation, Storyboard, Lighting, Sounds & Music

audzilla - Animation, Lighting, Graphics & Effects

Mar @souldagger - Character Design

Sound & Music References