MAJOR PROJECT I [ TASK 1 ]
24.09.26 - XX.XX.26 / Week 1 - Week X
Bachelor of Design (Hons) in Creative Media / MAJOR PROJECT I / Taylor's University
Task 1
OUTLINE
INSTRUCTION
Module Information Booklet (MIB) of Major Project I
<iframe src="https://drive.google.com/file/d/1saXjCEPvrA_aoizGbvV13_GuonyjJa90/preview" width="640" height="480"></iframe>
Task 1
..
 |
| Fig. 1 Screenshot of 2026-09 Project Management Document_MP1 (Week 1 / 24.9.2026) |
..
 |
| Fig. 2 Rough Idea Memo (Week 1 -2 / 24.9 ~ 1.10.2026) Summarized in English under Week 1’s ‘My actions planned based on feedbacks received’ section in the Project Management Document |
..
 |
| Fig. 3 Ideas Organisation (Week 2 / 4 ~ 6.10.2026) Summarized in English under Week 2’s ‘My actions planned based on feedbacks received’ section in the Project Management Document |
..
 |
| Fig. 4 Moodboard: Persian cultural elements & Design reference |
Information about Persian attire:
- Rome vs persia costume (toga vs kandys)
- The Rage for Persian Fashion in Fifth-Century Athens - Prof Margaret Miller → I felt that Persian designs looked similar to Greek clothing, perhaps because Greek clothing seems to have developed under Persian influence.
- Features of Ancient doubles (in Korean)
- Achaemenid Clothing in Ancient Persia
Because Persia, ancient Greece, and Rome (Byzantium) shared borders for hundreds of years, they inevitably exchanged cultures and clothing styles. However, one difference from Greece is that the Greeks did not wear trousers, whereas the Persians had to wear trousers because of their horse-riding culture.
Basically, to represent environmental issues, wouldn’t it be better to divide them into three environments: the sea, forest, and desert? To separately express the representative problems found in each environment, it is important to organise the problems first.
- The sea:
Ⓘ Ocean warming, ocean acidification, ocean deoxygenation, sea-level rise and ecosystem degradation
② Water is severely polluted by plastic waste, fine dust, chemicals, and other pollutants
→ pollutants discarded by humans and the destruction of marine ecosystems
- The forest:
Ⓘ Aridification, increased wildfires, biodiversity loss, ecosystem degradation
② Ecosystems are being destroyed by reckless development and environmental pollution, leaving numerous plants and animals at risk of extinction → wildfires, seasonal changes, and habitat destruction
- The desert:
Ⓘ Vegetation loss, soil degradation, increased evaporation from soil and water sources, desertification
② Global warming caused by the increased use of fossil fuels, resulting in extreme weather events such as heat waves, floods, and droughts → the climate and survival cycles damaged by human energy use
For now, let’s basically try creating only two protagonists, one villain, three Corrupted gods, and three Corrupted nature spirits like the gods. However, this may be too many, and I do not know how to begin, so should I start by organising the keywords first?
Organising the keywords was more difficult than I expected because I could not think of many ideas. For now, how about using a roulette website and dividing the keywords into categories such as species, age group, core design elements, atmosphere, visible design elements, weapons, and so on? Then, if the keywords that come up are suitable, I could add them for now. This might produce design ideas that I had not previously considered.
 |
| Fig. 5 Using a roulette website (Week 3 / 10 ~ 11.10.2026) |
 |
| Fig. 6 Process (Week 3 / 10 ~ 11.10.2026) |
The corrupted sea god's keywords:
A rotting sea
Non-human (godlike) appearance
Male form
Dark colours from polluted water
Dark atmosphere
Trash mixed in?
In his 30s
Waves
Ornate
Rugged
Broken halo
Short hair
Censer → black water
flowing from it
Oil and trash
Calm
The deep, dark ocean depths
Black water droplets
Rusty jewelry
Translucent body
Netting? Plastic
The corrupted forest god's keywords:
A burning forest
Female form
Late 20s
Mermaid-style dress
Burning tree bark
Lava tears
Straight hair
Scythe
Wailing
Chains (X)
Glowing tattoos (patterns)
Multiple scars
Shawl
Long hair
Thorn tree
The corrupted desert god's keywords:
The devouring desert
Child
Male form
Frail / Sickly
Loneliness
Freckles
Poisonous stinger
Dimple
Hair long on one side
Straight hair
Fan-shaped weapon (wind → sandstorm)
Sand leaking from the hem of his clothing
One eye covered by long hair
Stinger-shaped fan tips
Hood
Cracked skin
Dead grass roots
Regarding the Characters’ Combat:
It seems difficult to avoid combat entirely, as the corrupted gods and spirits are likely to attack the characters. The characters would therefore have to fight back. After defeating or subduing the corrupted beings, they could proceed with purification and restoration. Even if the beings are defeated, the damaged environment would not immediately return to its original state, so a separate purification and restoration process would still be required.
Stage 1 - Combat and subjugation Stage 2 - Purification and Restoration
Therefore, I plan to divide the characters’ roles into combat and purification & restoration. For example, the protagonist could be responsible for purification and restoration, while a companion takes charge of combat. The protagonist may also be capable of fighting to some extent, but they could become defenceless while carrying out the purification process. This could create a rule in which the protagonist requires protection from their companion during purification.
 |
| Fig. 7 Moodboard of the corrupted sea god |
First, I chose oil as the representative image of a polluted sea, and I imagined a god who was calm, melancholic, and majestic. At the same time, I wanted to include a wave design to show that he was once the sea.
 |
| Fig. 8 Process of Sea god character design (Week 3 / 12 ~ 13.10.2026) |
 |
| Fig. 9 Sketch of corrupted sea god 1 |
 |
| Fig. 10 Sketch of corrupted sea god 2 |
 |
| Fig. 11 Sketch of corrupted sea god 3 |
For the forest god, I chose fire as the representative image. I imagined an image of anger and tears caused by pain, as well as something that was originally a tree but is now burning.
 |
| Fig. 12 Moodboard of the corrupted forest god |
 |
| Fig. 13 Process of Forest god character design (Week 3 / 13.10.2026) |
 |
| Fig. 14 Sketch of corrupted forest god |
The design of the desert god was actually unclear because I could not immediately think of how people negatively affect the desert. However, there was the image of the desert: lonely and endless. There was also the image of being sucked in when standing on sand. Regarding environmental problems, the gradually expanding desert—in other words, desertification—felt somewhat like a child who wanted warmth. Therefore, I created this mood board. Because I had already worked on the sea and forest, I could not think of a clear keyword to express the issue of climate change, so I left it like this for now.
.png) |
| Fig. 15 Moodboard of corrupted desert god |
..
.png) |
| Fig. 16 Process of setting the characters' keywords (Week 4 / 19 ~ 20.10.2026) |
Keywords for Protagonist 1:
Male
Man in his 20s
Dark skin
192 cm
Short silver hair
Blue eyes
Saint role (priest)
Hero
Small winged ears
Restoration and purification role
(some combat support)
Gentle appearance
Diplomat / Priest
Moon
One impaired leg (X)
Eyepatch
Shawl
Bird
Scar
(X)
saint
Human
Dagger
Spear
Whip (✔)
Gentle
Kind / Warm
Tired
Keywords for Protagonist 2:
Male
Man in his 20s
Pale skin
186 cm
Red hair and red eyes
Long straight hair
Swordsman combat role
Rugged appearance
Scars on his body
Hunter
Heterochromia
Tattoos (patterns)
Dragonkin (horns)
Mask
Bandages
Low-tied hair
Hood
Dual swords
Arrogant
Dignified
Ominous
Combative / Rough / Wild
Roots
Shell
(X)
Owl
Sun
Thorns
Keywords for Villain:
Male
Middle-aged man in his 40s
Purple hair
Green eyes
Political figure role? → Representing a powerful authority figure
Always neat and well-groomed
Smiling face
Human
Smoke
Snake
Scheming
Researcher-like
(X)
Sly / Playful
Prosthetic arm / Prosthetic leg
Scar
Narrowed eyes
Elf ears
Shark teeth
Headband
Medium-length hair
For the Corrupted nature spirits, I could also begin by thinking of keywords for the sea, forest, and desert. I was able to imagine the appearances of the spirits based on environmental problems that can be seen in the news.
Idea 1: Sea - Corrupted nature spirit 1 (Coral reef)
The problems are: bleaching caused by rising water temperatures and pollution; suffocation and stress caused by chemicals
First, because it is white, I thought about making it a female spirit with an empty and dazed appearance.
Keywords:
Brightly colored coral that has turned white
Female form
Dazed appearance
Silver hair and silver eyes
Long wavy hair
Mysterious
Hair covering one eye
Bow
Idea 2: Sea - Corrupted nature spirit 2 (Polar bear)
The problems are: endless hunger, prolonging life on borrowed time, shrinking hunting grounds, and territorial conflict
Idea 3: Sea - Corrupted nature spirit 3 (Garbage island + Whale)
The problems are: toxic substances, traps and strangulation, blocked sunlight → the destruction of phytoplankton and seaweed
Idea 4: Forest - Corrupted nature spirit 1 (Frog + a hardening and stiffening image)
[Article 1] [Article 2] (in Korean)
The problems are: the skin hardens because of zombie fungus, causing death by suffocation; eggs are destroyed by ultraviolet radiation
Idea 5: Forest - Corrupted nature spirit 2 (Mushroom)
[Article 1] [Article 2] (in Korean)
The problems are: the net-like, interconnected mycelium dies, while poisonous mushrooms increase
Idea 6: Forest - Corrupted nature spirit 3 (Hooded vulture)
The problems are: indiscriminate hunting, death
Idea 7: Forest - Corrupted nature spirit 4 (Logging)
The problems are: contributes to drought and desertification + accelerates global warming (Do the spirits of felled trees accelerate global warming and summon other spirits?) (Instead, remaining motionless and curled up)
Idea 8: Desert - Corrupted nature spirit 1 (Clothing landfill + animal elements)
The problems are: indiscriminately discarded clothing, toxicity + air pollution
[Article 1] (in Korean)
Idea 9: Desert - Corrupted nature spirit 2 (Chemicals + salinization + black rain + heavy rain and flooding + horned lizard)
The problems are: oil-polluted particles directly mixed into the falling rain (the Kuwaiti desert during the 1991 Gulf War)
[About Horned lizard] [Article 1] (in Korean)
Idea 10: Desert - Corrupted nature spirit 3 (Drought + cracked earth + animal bones + dried-up cactus)
The problems are: mass die-off of plants, depletion of oasis groundwater, death of mammals
Reconsidering the structure of the three regions?:
While reflecting on the lecturer’s feedback, I considered whether the decision to divide the world into three regions—the sea, forest and desert—should be reviewed from the beginning. The current concept for the forest seemed suitable to keep, but the sea and desert appeared to require further consideration.
For the sea, oil was selected as the element that could communicate pollution most clearly through visual design. At first, I wondered whether using oil would also require the inclusion of cars or other modern objects. However, in the synopsis, humans borrow or extract fictional energy found within nature. Therefore, the oil does not need to be modern petroleum. It could instead be a fictional substance that borrows only the name, appearance and physical characteristics of oil.
The desert remained less clear because its role within human society, as well as the negative effects humans have had on it, did not immediately come to mind.
So I have decided to compile the real-world benefits that each of these environments offers to humans.
Benefits of each place to humans:
Sea
Ⓘ Oxygen production and carbon dioxide absorption ② Climate regulation ③ Providing resources and livelihoods.
Forest
Ⓘ Greenhouse gas absorption and air purification ② Disaster prevention. ③ Temperature reduction. ④ Health and recreation ⑤ Resource production
Desert
Ⓘ Global atmospheric circulation and mineral distribution. ② Geological resources and specialised ecosystems. ③ A place for adaptation and culture
Next, a brief organisation of the benefits that each place provides to humans, and how these elements might be applied to the project’s fictional world.
Sea
Ⓘ Air
② Resources (salt, seafood, pearls, fishing, etc.)
③ Preventing sudden climate changes at sea (e.g. preventing a boat from capsizing because of waves when sailing)
④ Cooling the land?
→ When corrupted, the temperature of the sea becomes abnormally hot. Rather than people simply drowning because of rising sea levels, they could also be burned by the water.
→ If the sea becomes corrupted, its original functions could be reversed. The temperature of the sea could become abnormally hot. Rather than people only drowning because of rising sea levels, they could also be burned by the heated seawater.
Forest
Ⓘ Air
② Resources (timber, agriculture, etc.)
③ Regulating floods and droughts
④ Lowering the temperature (especially cooling the temperature during summer?)
⑤ Providing comfort (phytoncides?) → reducing depression and stress
Desert
Ⓘ The greatest abundance of resources is buried there (various fictional energy resources) → deserts provide larger quantities of advanced industrial resources more frequently than the sea and forest?
② Sand carried by the wind supplies nutrients to the forest.
③ High value for the study of ancient artefacts, history, and geology (Could it be a place that preserves valuable objects?)
→ However, are these elements as visually and conceptually clear as those of the sea and forest? Still uncertain.
Representative image of each corrupted region
- Sea: The rotting sea
- Forest: The burning forest
- Desert: The desert gradually expands and swallows everything around it. The desert itself is not harmful, but excessive desertification can threaten other natural environments and human settlements. Therefore, the desert’s corruption could be represented through “expansion” and “swallowing.”
Lecturer’s feedback and further considerations:
Creating characters that symbolise environmental problems may not be enough. The project may also need to show how the powers of nature are used within the story’s society, culture, everyday life, civilisation or technology. The original idea was that the three gods were nature itself—the sea, forest and desert. Because of this, the corrupted realms where the gods exist were not considered in enough detail.
Initial images of the gods within their corrupted realms:
These ideas are not fully developed yet, but there were some initial thoughts about how each god might exist within their corrupted realm.
- God of sea: Remaining silently and sorrowfully in deep black water. Holding an incense burner from which black liquid continuously flows. A dignified masculine figure
- God of forest: Screaming in pain within burning flames. Furiously swinging a scythe. A suffering feminine figure.
- God of desert: Causing dried and yellowed land through loneliness, or creating heavy rain and floods while crying? The connection between drought and extreme rainfall within one character and one realm is still the least clear. A lonely god in the form of a child
How the corrupted realms expand:
The realms of the corrupted gods and spirits gradually expand and begin to threaten the places where people live. Could this become an important part of the environmental dystopia? A more specific explanation is needed for how each realm expands and how this process threatens people’s lives and civilisation.
Power provided by nature → use within human society → excessive exploitation → corruption of the gods → expansion of their realms → collapse of human life and civilisation
 |
| Fig. 20 Process of determining god's power (Week 5 / 23.10.2026) |
Representative elements of each region:
Sea
Core role before corruption: Circulation and cooling
Corrupted realm: Black water and an oil-like substance spread through the sea, while the seawater becomes abnormally hot.
Use within society?: Fishing, salt, pearls, navigation, water resources and climate regulation
- The representative design element for the God of the Sea was oil. However, this is not petroleum. It is an oil-like black liquid created when the Sea God’s energy becomes contaminated—a corrupted form of divine energy that has transformed into liquid.
Forest
Core role before corruption: Growth and restoration
Corrupted realm: Wildfires and smoke spread continuously, while the boundaries of the forest expand as everything turns to ash.
Use within society?: Timber, agriculture, medicine, flood and drought regulation, cooling and emotional stability
Desert
Core role before corruption: Energy storage and supply
Corrupted realm: Sand swallows mines and cities, while droughts, torrential rain and floods repeat at irregular intervals.
Use within society?: High-density fictional energy minerals, industrial power, and the preservation of ancient artefacts and records
- The desert as the power source of civilisation?: Fictional minerals or crystals that have stored divine energy for long periods could be buried beneath the desert. The desert may have provided energy that was much stronger and more efficient than the energy of the sea or forest, causing it to be exploited most severely. As humans extracted too much energy from beneath the ground, the stability of the land and its water cycle collapsed, eventually corrupting the Desert God.
- The Desert God as an emptied being?: The Desert God continued giving his energy to humans until he became empty inside. After becoming corrupted, he may keep swallowing the surrounding land, water, buildings, and human settlements, as though trying to fill what he has lost. This could connect directly to the representative image of “The Devouring Desert.”
- What does the child representing the desert want?: Attention, rituals and the restoration of humanity’s promise? Feeling abandoned by humans, he tries to trap everything inside himself, causing the desert realm to continue expanding. Each of the three gods should communicate a different form of corruption. If the Desert God takes the form of a child, this concept may distinguish him from the other two gods.
Before corruption design of forest god:
After roughly organising the basic settings, I first began designing the three gods, as this was the most urgent task. Since I had not yet developed the story, I thought that designing the characters might help me come up with ideas to fill in other incomplete parts.
Since I had represented the forest god’s powers as Growth and Restoration, I imagined her pre-corruption appearance as Mother Nature with a warm and benevolent image. Also, because the basic post-corruption design had already been created, I first prepared a moodboard by referring to that design.
For the most visible design elements, I selected flowers, trees, grass, butterflies and feathers.
I wanted the colours to feel warm, so I used brown and green as the main colour base. I wanted to give the character the feeling of a tree, and following the feedback, I added gold accessories and a large halo. However, because the design needed an accent colour, I placed flowers on the weapon.
.png) |
| Fig. 22 Process of designing the forest god (Week 5 / 24 ~ 25.10.2026) |
However, I thought that adding luxurious patterns to the clothing could make the character appear more god-like and show her high status. Therefore, I first designed a tree-related logo and then used it to create a temporary pattern design. The logo was based on the design elements used for the Forest God: butterflies, feathers, trees and grass.
 |
| Fig. 25 Process of logo design (Week 5 / 24 ~ 25.10.2026) |
 |
| Fig. 26 Sketch of logo and pattern design |
After completing the before-corruption design of the forest god, I made some changes to the after-corruption design. Following the feedback, I first added gold accessories, as well as burning butterflies and feather decorations.
I also applied the pattern that I had designed to the clothing to give it a more luxurious appearance.
 |
| Fig. 29 Sketch of the after-corruption and before-corruption |
After designing the forest god, I began designing the sea god through a similar process. I started by selecting jellyfish, fins, water droplets and coral reefs as the main symbolic design elements and then developed the design around them.
Fig. 30 Moodboard of the sea god before corruption (Week 5 / 25 ~ 26.10.2026)
Unlike the forest god, I initially used silver accessories. However, I thought that this might make the character design consist of too many similar colours, so I added colour to the coral designs and shell accessories and paid more attention to the overall colour placement.
 |
| Fig. 31 Process of designing the sea god 1 (Week 5 / 25 ~ 26.10.2026) |
Fig. 32 Sketches of the sea god before corruption (Week 5 / 25 ~ 26.10.2026)
Fig. 33 Sketches of the sea god before corruption (Week 5 / 25 ~ 26.10.2026)
Fig. 34 Moodboard of sea god's logo and pattern design (Week 5 / 25 ~ 26.10.2026)
For the logo and patterns, I tried to use elements taken from the sea god’s design, including jellyfish, shells, water droplets, coral and waves. Unlike the forest god’s patterns, I tried to use more curved shapes. For the logo, I wondered whether the overall design could take the shape of a water droplet, similar to versions 4–6, so I modified it in that direction.
 |
| Fig. 35 Process of designing the logo and pattern (Week 5 / 25 ~ 26.10.2026) |
 |
| Fig. 36 Sketch of the logo and pattern design |
I then returned to the sea god’s design and reviewed the silhouette. As shown in version 7, I felt that the before-corruption silhouette did not make the character’s legs appear absent as clearly as I wanted. The after-corruption silhouette hid the legs more successfully and therefore felt more non-human. Because of this, I slightly changed the silhouette into version 8. I then revised the after-corruption silhouette into version 9 based on the feedback.
Finally, I applied the patterns that I had designed to express the god’s luxurious appearance more clearly.
Fig. 37 Process of Silhouettes (Week 5 / 25 ~ 26.10.2026)
.png) |
| Fig. 38 Process of designing the sea god 2 (Week 5 / 25 ~ 26.10.2026) |
 |
| Fig. 39 Sketch of the after-corruption and before-corruption |
The main keywords for the desert God’s design were scholar and artefact keeper, dragon, desert rose and agave. It was more difficult to select design elements for the desert god than for the other two gods. The main keywords for the other two gods immediately came to mind, whereas for the desert god, I could not think of many elements apart from the dragon and the scholar and artefact keeper concepts that I had developed based on my ideas.
Fig. 40 Moodboard of the desert god (Week 5 / 27.10.2026)
The corrupted desert god's keywords:
The Primordial Dragon
Desert Rose
Agave
Energy & relics manager
Scholar
 |
| Fig. 41 Process of designing the desert god (Week 5 / 27.10.2026) |
 |
| Fig. 42 Sketch of the after-corruption and before-corruption |
Development of each region:
After designing the characters for the three regions, I decided that it would be better to think about the geography in more detail and then apply elements related to it to the characters. My first idea was similar to the image below. The three different regions would surround the central city area where humans lived. However, I thought that arranging the regions in this way might make the world look too much like an artificial island. I also wondered whether I should place the forest below the desert, with a river flowing between them. However, the more I tried to decide the exact geography first, the more complicated the structure became.
 |
Fig. 43 Referenced image of the fantasy map (Week 6 / 2.11.2026) |
Because of this, I first examined how fantasy maps are usually created. I also looked at maps from the cultures that I had used as references.
Fig. 44 Moodboard of fictional map & actual map (Week 6 / 2.11.2026).png)
Since I had already considered which areas of human life could be developed through each god and where their powers could be used, I wondered whether it would be more natural to place settlements where the god realms and the human realm meet. These settlements could mainly depend on the energy and lifestyles connected to that energy.
Each god realm would be located deep within its region, while the settlements would remain close to the human realm and function as doors or passages connected to the god realms.
→ This could also create a deeper connection to the corruption of the gods. Since settlements exist near each god realm, pollution originating from human cities could flow more naturally into the gods’ wider realms. These routes could also become paths through which corrupted nature enters the human world.
Human realm:
I decided that the main city in the Human Realm would be a central place where people from all three regions live together. I wanted it to resemble a mixed human society where many different people live together.
Energy distribution method and the idea of intermediate regions:
My initial idea was that the gods would provide energy to humans through intermediate regions called Gates. I expected that the existence of the gates could soften the awkward boundaries where different regions meet on the fantasy map moodboard. In some example maps, regions with very different features, such as snowy areas and forest areas, can feel unnatural when placed directly beside one another. Therefore, I considered placing settlements between the god realms and the human realm. The energy received there could either be transported to the central city or used within the settlements themselves.
Problems with distributing energy through the gates:
However, this system could make it appear that the gods directly allocate and distribute a fixed amount of energy to humans. If this were the case, the basic story of humans directly collecting resources, becoming increasingly greedy and eventually corrupting the gods could become less convincing. If the gods directly distributed the energy, there would be no reason for the settlements beside each gate to contain ports, healing centres, mines or museums. Also, the only way for humans to show their greed would be to travel further beyond the gates and invade the god realms. This could make the story appear to be about a direct war between humans and the gods.
Revised idea for the energy distribution method:
Therefore, I decided that it would be better to return to my original idea that the gods’ energy already exists within nature and that humans collect and refine it themselves. The sea god’s energy could exist within ocean currents and marine resources. The forest god’s energy could exist within plants and a phytoncide-like energy released by trees. The desert god’s energy could come from the desert land, sand and minerals. This would allow me to combine the energy system with my previous ideas.
Since the gates are also located between the god realms and the human realm, I thought it would be better to change their role so that they manage the energy and the surrounding locations. I currently expect the gates to manage the amount of energy being mined or collected, protected areas, religious rituals and restoration activities.
Names of Protagonists:
Since I had not yet completed the sketches of the protagonists and the villain, I first collected moodboards and decided on their names based on the images and keywords included in them.
 |
| Fig. 45 Process of each region's and other characters' moodboard (Week 6 / 2 ~ 3.11.2026) |
..
 |
| Fig. 1.23 Process of Storyboard 1 (Week 6 / 3 ~ 4.11.2026) |
..
.png) |
| Fig. 1.24 Process of Storyboard 2 (Week 6 / 3 ~ 4.11.2026) |
..
.png) |
| Fig. 1.25 Process of Storyboard 3 (Week 6 / 3 ~ 4.11.2026) |
..
 |
| Fig. 1.26 Process of editing the presentation slides |
..
Final Task 1: XX
..
..
FEEDBACK
WEEK 1
Specific Feedback: No individual feedback
General Feedback: Need to identify what I want to create, which skills I'm confident in, and which strengths I want to show through this project. Prepare some initial ideas and be ready to discuss my possible project direction in the following week.
WEEK 2
Specific Feedback:
- Clearly decide on the type of entertainment media and its specific genre. If it is a video game, consider how the genre affects the expected outcomes. For example, an action RPG may require action poses, weapons, and combat designs, while other RPGs may focus on fashion, exploration, icons, or emblems.
- Consider developing the project as a manga, manhwa, or webtoon if these formats are more familiar. Possible outcomes may include character designs, environment studies, props, weapons, costumes, and the first two chapters.
- Include some form of 3D work. It does not need to be a fully modelled or animated main character and could instead be a prop, weapon, equipment, or part of an environment.
- Return with a clearer choice of entertainment media and a list of possible project outcomes
WEEK 5
Specific Feedback:
- Develop Chapter 1 clearly
Decide how Chapter 1 will begin and whether it will work as a prologue introducing the past. Present its basic sequence through sketches and connect the character, environment, creature, and prop designs to the chapter.
- Establish the main story elements
Confirm the roles of the two protagonists and decide whether they will have a companion. Create names for the realms, places, gods, and their powers. Develop the God Realm, Human Realm, and Corrupted Realm, along with the main weapons, magic, and props.
- Develop the creatures and gods in different forms
Design both normal and corrupted creatures. Create an original mythological form and a current corrupted form for each god. The original forms may be shown through murals or statues to explain how people remember the gods before their corruption.
- Strengthen the god designs
Add more god-like and oil-related elements to the male god, such as sleek surfaces, tar-like textures, metallic colours, and shining materials. Make the female god look more regal and boss-like by developing her halo, gold decorations, and corrupted effects. Both characters should immediately appear powerful and divine.
- Clarify the purpose of each power
Explain how humans originally used oil, fire, and sand in their daily lives, how they misused these powers, and how the misuse connects to the gods’ corruption. The powers should make sense within the story world, not only represent real environmental problems.
- Communicate the story visually
Make the characters, environments, creatures, and props understandable without depending on additional explanation. The audience should be able to recognise each god’s power, divine status, and corruption through the designs.
General Feedback:
- The proposal presentation will begin at 2 p.m. next week. Students must present their confirmed project topic, direction, and visual development. The presentation should include:
Ⓘ A brief project recap
② Current mock-ups, sketches, storyboards, or concept art
③ Changes made since ideation and the reasons for them
④ Important techniques or tools used
⑤ Target audience value
⑥ Current challenges and plans
- The presentation is limited to 10 minutes, followed by 5 minutes of Q&A. It will follow a first-come, first-served basis. After presenting, students must upload the presentation deck, current WIP visuals, development assets, production timeline until Week 14, and updated Project Management Document to Microsoft Teams
WEEK 7
Specific Feedback:
- Add a development art book that shows the project’s full design process, using the methods learned in game art. If the portfolio only presents one webtoon, recruiters may not clearly understand the range of skills or development work shown in the project.
- The idea is original and interesting, so all of the environment designs should also be developed and presented. The environments of each region and realm also need to be designed and illustrated.
- The character designs are good overall, but the corrupted versions do not yet have enough visual impact. Daryavan’s corrupted design works relatively well, but it is less impactful than Sarvrena’s. Shenadar, the child Desert God, does not appear to change enough after corruption. The visual contrast between the before- and after-corruption designs should be strengthened.
General Feedback: The submission link will be uploaded to Teams next week. Revise and improve all submission materials before the link becomes available.
Comments
Post a Comment