The Big Green Head

The Big Green Head is a design for the Big Brother floating head advert character. These are some initial designs that i’ve been working on today for it.

I wanted to use to the green on black colour for this, at least somewhere in the design, to reflect the idea that it is some kind of advanced AI that is controlling everything. With the use of robots that aid the humans (players and fighters) with getting ready for the fights and autonomous police tanks and drones in the background to the exterior shots, I wanted to have this computer feel to the Big Brother head. I think it has vibes of the Terminator about it. Fallout the video game series also utilises green on black because of the same retro feel because of old computer screens.

Basically every ‘job’ is done by some kind of robot. Getting the humans ready for fights. Wiping Pinkguys’ mind will be automated. This is a future world, although dystopian, it is still advanced technologically in many ways – although I definitely want to have a retro  aesthetic style to the world – it could look more modern in the players world – which would be a good contrast between the two. I think having a bus with a driver is probably not what I want to do – either the bus is automated, or those travel scenes should be on a train. When I was creating the rough draft storyboards, I just chose buses probably because I travel on one every day rather than any good reason. The important thing is that Pinkguy can see his reflection in a window – during a reflective moment for him while travelling towards his impending fate.

So i started out with the green on black colour scheme and began putting some designs together. I decided quite quickly that I preferred the way the wire-mesh style looked, and wanted to pursue different designs in that style.

green head

Green head 5.jpg

green head 6

green head 7

green head 1

green head 2

 

 

green head 3

I like the idea of there being a big false mouth – like how some moths have fake eyes to ward off predators, the huge fake mouth grins widely at the audience to create a false sense of safety, happiness and comfort. I think that would fit the character as he’s supposed to be somewhat ominous – but at the beginning the audience doesn’t know that, so i want him to be somewhat cute as well – which becomes more sinister as things progress.

green head 4

I still need to write the dialogue for this advert and decide exactly how that is going to play out – I know what he needs to say, but I still need to write the dialogue and get that finished ideally before I pitch next week!

Other things to consider:

  • What will he sounds like? I am thinking quite robotic.
  • How will he be animated? Is there much movement? I was thinking of doing simple animation, the mouth would grow and shrink as he talks – like a robot. The eyes also make different shapes to accompany the dialogue.
  • The backdrop for this character – black – but what else? As I want to create this computer feel the character has a shine to them – and there could be other lights (similar to what I’ve done on some of my illustrations) flying around the frame or some kinds of effect maybe.

All the designs i have done so far are very symmetrical. Symmetry is really attractive, and can be found everywhere in design. It has this sense of balance and familiarity. It’s innate – and can be found naturally occurring in nature – humans, plants, animals – it’s everywhere! So it’s no wonder we utilise it for design, to make something pleasing to the eye. Perhaps I could subtly subvert that with this character – so you know something is off, but you aren’t immediately sure what it is.

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Story development

I have been moving ahead with style and I need to go back and really nail the story down.

What is my film about?

It’s about a guy from the lowest echelons of a future dystopian industrial prison-like society that is controlled through propaganda and an ominous militaristic autonomous police force. An aggressively positive animated government mouthpiece features prominently on the tv (and throughout the world) and reminds the populace they can sign up to fight in ‘the arena’ for the chance to win a ticket to paradise.

The story follows the main character (Pinkguy) as he decides to risk his life for a chance to escape his unfortunate, meaningless reality and get into an idyllic paradise that has been dangled in front of his face for so long that he believes will solve all his problems by entering the arena fights.

The fights are operated by players who take control of the fighters using special futuristic virtual reality equipment. It’s just a game to them – but life or death for the likes of Pinkguy. His player wins the fight which is widely televised and enjoyed by a large audience – and is faced with the brutal reality of what he will do for the chance at paradise.

  • Pinkguy is desperate and is manipulated by a corrupt system to do something heinous – which horrifies him. (He is used by people, but he chooses to be used – but did he really ever have a choice?)

The question at the heart of the story:

  • Is it worth corrupting yourself to get to ‘paradise’?

Or

  • Is it worth the risk of corrupting yourself to get to paradise?

Pinkguy is basically trapped in this terrible depressing life – and perhaps he should be more thankful for what he has, although apparently gloomy and bleak (representing his outlook) it could probably be worse. But as he sees on tv it could be better – it could be paradise. The whole story is about him trying to get to this idealistic world, and the depths that he will stoop to in order to achieve it. He is willing to corrupt his innocence and delve into the unknown to get the bright shiny existence he feels he deserves.

So the main question driving the story is:

  • Will Pinkguy win his ticket to paradise

The answer I have so far is probably not – or yes, but it’s not what he thinks it is.

What does the audience need to know?

  • Pinkguy lives a meaningless unfortunate life
  • There are fights that you can enter – the prize is a ticket to paradise (escape from reality – meaning/freedom)
  • Pinkguy decides to take part in one of those fights
  • Society is split into the ‘haves’ and ‘have nots’
  • Some of the ‘haves’ control the fights for their own entertainment
  • Pinkguy wins his fight
  • Paradise doesn’t exist (no escape from reality)

 

                Act 1 – Pinkguy wants to escape his life

Turning point – He is given a chance to escape his life by fighting

                 Act 2 – He decides to enter a fight

– Players control the fights

              Climax – The fight – Pinkguy wins

                  Act 3 – Pinkguy is remorseful

– Paradise doesn’t exist

 

Act one – Raise the question: Will Pinkguy win his ticket to paradise?

Act two – Yes it looks like he will. (He goes to enter a fight)

No it looks like he wont. (Players control the fights)

Yes it looks like he will. (He wins the fight)

Act three – Will Pinkguy win his ticket to paradise? – Paradise doesn’t even exist.

At this point i think I want to leave it open. Yes he could win his ticket to paradise, but it doesn’t matter because it wasn’t worth it and paradise doesn’t even exist in the way he envisioned it – it is just a plastic carrot on a stick. Or no, and he won, but he will be (a) killed off to remove loose ends and keep the games going or (b) his mind will be wiped and the cycle can continue.

I like the idea of his mind being wiped and ending up back where he was at the beginning – so he can be convinced to fight again.

 


 

With this ending would other characters not recognise him and uncover the scam? 

The characters all look very similar but ideally they look different enough that they are like people, and would recognise someone from tv in real life. So when fighting they wear masks – which you would think is just part of the ‘act’ or fight scene – like how wrestlers wear costumes and things.

bug1

Background with no vignette:

bug background

 

Style inspiration

Charles Huettner.

The Jump

charles1charles2

charles`

charles1

cahrles2

I really like Charles Huettners’ style, simple characters with no line work. He uses black space to create an atmosphere and make the characters pop at certain times. It has a sort of pop art style to it, with the characters bold colours sticking out from the backgrounds. The main background is made up of light greys with some bits of interest like the small plants or the rubbish. There are lots of great shots and different angles capturing the scene – high angle, low angle, birds eye views, etc… There is a lot of variety. I really like shot of the plants just slowly blowing in the breeze, it helps create this calming feeling to the beginning of the film.

The film starts out very chilled and the sounds reflect that, relaxing the audience and creating a non-threatening but suspenseful feeling. When they jump we aren’t totally afraid for them, we see it as a game, as something fun – and when we reach the twist it’s that much more shocking. The wooden blocks being hit increase in speed and more are added as the blobby creatures being to swarm together en mass. The music is filled with percussion actually, and it accompanies the action really nicely.

The blobby creatures move slowly and gracefully. When one jumps up and propels himself on, his body changes shape a lot – like a jellyfish but more so – which I think is really effective. Their design is really simple, they have eyes a mouth and they don’t have any arms. Their eyes are cartoony with just white and then black pupils, which is consistent with the other characters, who have more features but are still simplified.

I’ve looked at Charles Huettners’ ‘The Jump’ before, and it never gets old. The story is so brilliantly told, and I think it’s pretty much a perfect short film story. We are introduced to these strange flying blobby creatures, and we aren’t sure what they are, and two people hanging out on a bridge. Then the blobby creatures start flying together and the two people jump off the bridge into them. When they pass through a blobby guy they experience their death. The final twist reveals that one of the people fell to their death and their friend experiences it.

The smoke effect when the guy hits the ground is really simple yet really effective. The man who is hit by a car is splattered and bits of him come off and it helps to create this sense that he has taken a really powerful hit. It’s simple, but works really well to help you feel the action.

  • For reference there are about 40 different shots in this 2:30 long film.

Winter House

I really like the colourful effect when the one character notices the llama looking one – the same colours (pink, yellow, blue) used again when he jumps on its back! Due to their lack of colour, when those bright colours are used it really impacts the action. I like the way the character becomes blobs when going over to the llama as well – it’s unusual and brilliant. The way the bird moves is really unusual and makes that character more interesting – when he gets a twig he likes he and the twig flash those same colours again – showing the audiences their importance.

The overall strange vibe to this film kept me glued to the screen. The same three colours used throughout was a nice consistent touch – especially in the credits as well. There were also some really cool transitions, and character designs. Charles has a great style and way of animating and moving characters that I think is awesome!

Charles tumblr: http://charleshuettner.tumblr.com/

Spit Ball

  • Colourful
  • Pastel shades
  • No lines
  • Simple style

Thomas Schmid

charles3

I really like this advertisement animation. It’s a rollercoaster ride through different scenes, some are abstract while others are less so. The animation feels like it slows down as the story reaches people talking about how they turned their life around – and then small bits of colour begin creeping in.

The use of space is great, and there are some really great uses of black creating this claustrophobic feel. There is a guy who walks out of the darkness into the light and he gets some colour on his character is a fantastic metaphor for taking the step away from alcoholism and into a healthier happier lifestyle.

The use of colour to denote getting better – or being whole, instead of an alcoholic is really effective. It makes the characters come to life – they are no longer just black and white and grey shapes, they are subliminally more full of life.

The ‘water’ drop into a puddle which becomes the shape of a person is really strong, and fits with the theme of alcoholism taking over someone life and body.

‘Doors’

Seoro Oh

Afternoon class

A film about a kid trying to stay awake in an afternoon class! He’s trying everything to stay away, the turning point is when he falls asleep, and then the result is he is falls asleep as does everyone else including the professor!

  • Painted style – no line work.
  • Really cool surreal dream sequence – made up of lines and lots of different colours. contrasting the main action.
  • Some great imagery – his head turning into various heavy objects.

“When I had an afternoon class in school, I used to try to keep from nodding off by shaking my head, which felt much heavier than normal. It was so funny that, while other friends slept comfortably, I would fight against my drowsiness. I wanted to create a funny animation that captured both how sweet the drowsiness is and how hard it is to overcome. I used the fantasy elements in the film to help convey the subjective feelings and add humor to the narrative. Although Afternoon Class is based on my own experience, you may find it familiar.” [1]

David OReilly

Black Lake

(Collaboration with Jon Klassen)

David OReilly is famous for making low-poly 3D animations. While Black Lake is a bit different – it’s hauntingly beautiful it does show how he likes utilises glitch effects in his animations to great effect. The loop starts out polished and like a finished piece and devolves into this broken mess. The calming piano music played throughout is in affinity with the beginning peaceful nature of the film – but takes on a new feeling once things break down and change. The 3D mesh is like the objects skeletons, and the way the animation is progressively worsening – it kind of reflects the human condition and aging.

Please say something

This film is brilliant, and here’s some reasons why:

  • The way some walls are only hinted at, so we see what’s happening in other rooms.
  • The monochromatic nature of much of the film – (the use of gradients in general) and then the use of high contrast colours. The colour use in general – really creative and experimental while sometimes reflecting the narrative really well. I like the pink and blues that sometimes colour the monochromatic scenes.
  • The scene where they leave the apartment and we see them walking and catching the elevator at the same time, then see them in the elevator and walking outside – it’s a great way to use the frame and transition from one place to another.
  • The use of subtitles and the squeaky made up language – making the film accessible to all as long it gets subtitles (not that it necessarily needs them to be a compelling film with an interesting story).
  • The car crash scene – the way the landscape is set out when they’re driving and crash. The weird view reflects the action as they crash – as it’s not the norm/ not what you’d expect.
  • The wire models representing past memories is very clever.
  • The lovely story about the ups and downs of a relationship.
  • The sped up ending of them living together – few frames animation – I think this always looks really cool when I see it in films.

From David’s essay ‘Basic Animation Aesthetics’ –

The importance of animation aesthetics is such a subtle yet vitally important one. It might seem superficial to discuss these things, especially because cinema is so much more to do with content and story than a pure aesthetic experience, but nonetheless the visual nature of animation calls for debate on the subject.

There is a continuous raft of animation, both commercial and independent, which looks the same, and I don’t believe it has to be so.

The more we think about the subject the more playful and interesting computer animation becomes, the medium feels to me like a recently opened Pandora’s box which is still being examined, understood and tamed. [2]

David goes against normal style conventions and aims to create something that is still beautiful and appealing to audiences, but without just doing what everyone else is doing. Animators are artists, with different styles and the desire to explore different styles, and I think more and more (since this was written) we have seen that creativity emerging into the mainstream – but the industry still likes to cling to those models that they know are popular and will sell.

The External World (Trailer)

Full thing on his website – http://www.davidoreilly.com/

  • Monochrome
  • Considerate bright colour use
  • Defies conventions
  • Dark subject matter – yet still visually and aesthetically appealing

WOFL 2106

This animation has the most stylised trees i think i’ve ever seen – reminiscent of Eyvind Earle. Another monochromatic animation that uses colour highlight the action and evoke different feelings throughout the film. The composition is really thoughtful, and fits with the narrative, as does the use of glitch animation. There is a really playful, creative vibe to the whole film – like pretty much all Davids work.

Jon Klassen

Jon is a world famous writer and illustrator of children’s books, and he also makes animations.  He makes the art for his books and then scans them into a computer and edits them in Photoshop, so they have a really great hand-drawn look, while being tweaked and fine-tuned on a computer!

If I decide the next story’s going to be best told with pastels, then I’ll do some pictures with pastels, that don’t necessarily have a story behind them. But I don’t keep a sketchbook of that. There are drawings everywhere and they’re very disorganized. As long as I get them into the computer, then I’m not too romantic about what the physical pieces were. [3]

His style sometimes reminds me of Eric Carle (The Very Hungry CAterpillar) because of that sort of collaged, handmade style. Jon has great composition in every picture, and because of his animation background he carefully considers everything that’s included in each frame.

The audience is always looking for symbols. You can have a beautiful illustration, but if it doesn’t have the symbols that simply communicate what you need to communicate, then they’ll get lost. It’s the same with film. You can have a beautiful sequence of shots, but if it’s not organized clearly, you get lost and the story’s gone. You’ve lost your audience, no matter how well you’ve done visually. It always has to have the idea behind it first. [3]

His art has so much texture and feeling to it, which makes everything come alive, even though it is quite cartoony. He works with some really natural muddy colours, tones and his work has a real-life quality to its colour palette – it’s not often over-saturated or overly colourful, whereas many children’s books are.

Yes, exactly. And there is artifice in illustration. You are up against your own skills as an artist. You can only play at making a fake tree. No one thinks it’s a real tree, but they know it’s supposed to be a tree. That’s way more fun than actually trying to draw a tree. [3]

Erin Kilkenny

Mountain Ash

I really like this guys style in general, but i especially like the designs in this animation. The characters are simple, but they have a certain quality that makes them really appealing – simplified rounded shapes. The landscape is really nice, and the weather effects work really well in this style.

I really like the dark storyline of this film, and how it is told progressively, as more of the characters die. Finally introducing us to a new character once they’re all dead and revealing tragically that it is a loved one of the deceased man. The red credits over the dark monochrome forest also looks really good, as simple as it is.

kilkenny

kilkenny1

His use of colour is something I really like. In Mountain Ash he has a mostly black and white background, with little touches of colour (berries on the trees) and the colourful characters really stand out from the environment and capture your attention.

His Website: http://www.erinkilkenny.com/

kiolkenny

H5

Logorama

This animation is amazing! The entire world is made up of real-world companies logos. Everything is not only branded, but the actual brands. The zoo animals are logo animals, like the lacoste crocodile, the MGM lion, or the american political donkey and elephant. The characters are brand characters, like Ronald MCdonald, the Pringles can guy or the Michelin man. The buildings are all branded or shaped like the logos which take up the whole side of the facade – like Domino’s pizza, and famous album covers. Some of the skyscrapers are toothpaste boxes or look like giant sweet packets. Even the crack in the ground is shaped like the xbox logo, the mountains are from the Evian brand and then the big break is the nike logo – EVERYTHING is considered and every opportunity is utilised to enhance the story.

And the story itself is great. It just continues developing and becoming more catastrophic and exciting. It starts out as a police chase that becomes a hostage situation that becomes a disaster movie. The stakes keep getting higher and higher and its a wild ride from start to finish.

 Logorama employs a stylized, geometrized CG aesthetic with non-realistic (“toon”) shading, which is commonly used in logos and helps identify them easily. [4]

What’s great about this film is it is stuff we see every single day – and it highlights that in a really satirical way. The world is covered in advertising, and it is so prevalent everywhere we go – but it becomes background noise so to speak, we just get used to it being there and don’t notice it as much – advertising is often most effective when it is subliminal. But it is constant – every media is plastered with it from TV to newspapers. Buildings are covered in billboards and ads are on bus stops and it’s not enhancing the landscape or beautifying the world its just trying to convince you to buy stuff.

The film is really colourful and vibrant – as it is made up of advertising logos and logos are designed to stand out and be noticed and that means the film is really bright and filled with colours as a result. The look of the film is juxtaposition to the narrative – this dark gritty violent story is set against a bright colourful background – and it just works really well. There’s a sinister quality to this beautiful but dangerous world.

H5’s Francois Alaux in an interview said:

We chose to do the classic approach of a classic blockbuster Hollywood film. That’s why we choose all the good cliches of using the camera. The people have to follow the story and forget the logotypes.

The Michelin guy, for example, like in casting you’re looking for a fat guy for the undercover cop. And plus with the very strong and powerful logotypes, you have to fight to push the story as the first thing to follow. [5]

They always knew the film was going to be made with logos, but the story was built so that you aren’t always relying on the logo’s to push the narrative. The characters bring it to life and are very naturalistic and use slang and curse words.

If you close your eyes we tried to do something like Die Hard, because it keeps you in the real world. We worked on shape of city, sound ambiance, sound of the street and the diner. You have to push to show that it’s real. [5]


 

[1] – http://www.cartoonbrew.com/cartoon-brew-pick/afternoon-class-seoro-oh-150534.html

[2] – http://animationanomaly.com/2012/02/29/basic-animation-aesthetics-an-essay-by-david-oreilly/

[3] – http://www.artofthepicturebook.com/-check-in-with/2014/10/15/interview-with-jon-klassen

[4] – http://filmnosis.com/shortfilms/logorama/

[5] – http://adage.com/article/behind-the-work/h5-builds-world-logorama/138951/

Waiting for the elevator

Today I’ve been working on this corridor!

I decided to add a vignette around the edges to make the scene feel more enclosed and claustrophobic and dark. This reflects how the character feels, and his situation in the world he is in – he is trapped with no way out and no options.

I painted how the elevator panel could look – with hard edges and red lights for the numbers. My shadows have been inconsistent, so that’s something that I need to think about. The shadows in his room are hard, and I’ve made them more blurry here – not sure which i prefer really.

The doors are not detailed enough – they could have handles, numbers, or something that allows someone to interact with them and open them. The painting style is slightly different to yesterdays room in a number of ways, so when it comes to the final style I need to make sure it looks consistent throughout – unless i’m going to specifically paint each background in a slightly different style on purpose to make the film have a certain kind of feel – which isnt a completely crazy idea as long as it fits the narrative, etc. I think it’s probably better to keep it all a consistent style though.

The number 13 is unlucky for some and has been considered a dark/bad number, so it’s fitting that my character lives on the 13th floor or sees the number 13 when he looks up at the panel. Although in my animation the numbers will be changing as Pinkguy waits for the elevator.

corridor background1

pinkguy corridor scene

elevator count down

corridor background3

corridor background4

 

Backgrounds and stuff

I thought i should write out a rough list of all the backgrounds I think I will need to make based on the latest version of my film:

  1. Characters room
  2. Characters room ‘god’ view
  3. Characters room birds eye view (top-down)
  4. Corridor in characters building
  5. Corridor in characters building ‘god’ view
  6. Corridor in characters building close up elevator switch
  7. Corridor in characters building close up elevator numbers
  8. Elevator exterior
  9. Elevator ‘gods’ view
  10. Elevator close up buttons
  11. Ground floor characters building birds eye view
  12. Exterior night sky
  13. Full building exterior
  14. Exterior building close
  15. Exterior building far
  16. Cityscape
  17. Interior bus
  18. Interior grid room
  19. Interior grid room ‘god’ view
  20. Interior grid room screen wall
  21. Interior grid room ceiling
  22. Interior grid room ceiling (low-angle)
  23. Exterior fight club
  24. Exterior street (outside fight club)
  25. Interior fight club
  26. Interior fight club ‘god’ view
  27. Interior dark room
  28. Interior dark room side view
  29. Interior dark room screen wall
  30. Fight room (Arena)
  31. Audience room

There are a lot! Even so I want to actually develop the audience room, so that we get a better idea of that world, as it is pretty limited in this iteration. The shots in the latest storyboard are not final either, as I want to make the most out of every shot and angle – considering contrast and affinity for each shot – tone,

Pinkguy Interior room:

room highlight

room not even highlight

room not highlight

I put together a quick test of the lighting in Premiere to see what it looks like at the moment. The television sounds I have used for this test are not going to be in the final film, it will be the advertisement for the fight clubs and then if there is more,  it will be something I have recorded that fits with the world he is in. I am thinking about another advertisement (just the sounds) about the latest tanks the government has now.

I like the way this looks but I think there could be another light source in the room – maybe a ceiling light, so the shadows dance a bit – so there should be a shadow as if the character is being lit only from the top. I think the concrete and pipes creates an industrial feel which reflects the world he is from well. The film moves from this concrete industrial world where Pinkguy lives, to the fight club which will have a different feel and then onto the final arena where the fight takes place – and also the clean world of the grid room where the players are and the middle world where the audience is. I need to think about the design for all these environments in more detail, and how they compliment the story.

room top light

This is the beginning of the film where Pinkguy lives, it’s supposed to be dingy and gloomy – so I think it should be darker. At this point in the film we are just meeting Pinkguy and the darkness reflects his mood and foreshadows the dark nature of the world he finds himself in and the things he will have to do later in the film.

Room natural tv light on

Room natural

I made everything darker except the highlight on Pinkguy because I think it looks better with that contrast. I think he should be watching TV in the dark, because he is wasting his life away – and many of us do that in front of the TV – it’s an activity that isn’t productive.

The character has a very sparse and empty room- because he doesn’t have any possessions. The only thing in the room is the bed. This reflects the non-consumer lifestyle of the residents of this part of the world. They don’t own things, because they are poor and without much. Is it too on the nose and unrealistic? Should he have some possessions around the room, or will that take away from the message? Definitely something to think about.

For this test I made it so the shadow below Pinkguy from the ceiling light is always on – as the light would be unless it was broken and flickering (which it could a little), and there are two shadows from the TV, well one but two different darknesses to simulate the changing light on the TV.

Character designs

I painted a quick basic concrete style background to do some character designs on.

character design1

I really like the colour scheme of pink and yellow – it really stands out from the background, and should be fine on light or dark backdrops because of the outline.

I’m not a fan of the extra features in the same purple outline, or the purple colour in the mouth and eyes either. I think adding feet could work, but i quite like the simple look of the first one.

charcater design 2

I did a quick expression sheet, the characters features can morph into whatever i need when animating, and they can move around his head wherever as well as they float above the face/head.

charcater design3.jpg

I did some experimenting with different features, these are the things that would set the different characters apart in my film – but could also include colour, size and other differences as well.

I like:

  • The first guys nose.
  • The second guys ears. His nose is cool too.
  • The third guys horns. His nose is cool too.
  • The fourth guys booties. His hair is cool too.
  • The fifth guys hairy chest. His head hair is cool too.
  • The sixth guys thick eyebrows.
  • The seventh guys boots and eyelashes.
  • The eighth guys ears and chest hairs and bags under his eyes. His nose is cool too.

charcater design 3

 

Storyboard development

This is an updated storyboard. I’m just experimenting with the shots and seeing what I think looks good, and what I might want to include in my final film. The story is not fully formed, so this is jumping the gun a bit, but I want to visualise what I have so far and see how I need to adapt from that perspective.

I haven’t put all the relevant information with each frame as well – e.g. the dialogue that the opening character in the advert says. So it’s not super easy to follow. The advert needs fleshing out anyway – I think it needs more than just a floating head.

The floating head opening character introduces the audience to the fights, explaining that they need more fighters to ‘come on down to your local fight club and take part’ with the additional information that ‘if you’re a winner you have the chance to win a ticket to paradise!’

This is the incentive that drives the main character to take part in the fights. Then later we discover that it’s more of a difficult decision and bigger risk because he literally hands over all control to a ‘player’ who uses him to fight on his behalf.

This is so that players and audiences can get the most realistic fights possible without having to risk their own lives and limbs. I’m not sure if the end of the fights will end in definite death, thus making them even more serious – or whether that is not necessary, as the point that they are getting badly hurt for someone else’s sport (with zero guarantees that we can see that they get anything from it – just a promise of a chance to win something) is already made.

storyboard1

storyboard2

storyboard 3

4

storyboard 5

storyboard 6

storyboard 7.jpg

storyboard 8.jpg

There are a lot more frames in this storyboard than the last, partly because i’ve drawn the fight out as well. But it is a lot more substantial than the last rough storyboard – and the story is beginning to take a better shape. I think the ending needs a little bit of work but is basically there.

I have left out the ‘finish’ him with audience participation for the moment. I’m not sure that i want to actually include it, as I don’t think i need it. It’s something to think about anyway. I think i would prefer if the main character fights – there is no blood and gore just cartoony action and reactions, and then at the end once it’s over he looks at the broken and bloodied body of his opponent on the floor – as the reality is clear now for all to see – cue emotional response from main character.

It’s going to be quite a dark animation – both figuratively and literally! Shadows and light help set the tone and mood of the scenes – and are used to highlight certain parts of the action. The outside is night time, so we can see it lit up and moody and get proper reflections on the bus windows.

The ‘window’ glitching out represents the fakeness of the ‘better’ world that the main character strives to be a part of. It’s not all that it seems, and not what he hopes it will be.

The symbols i’ve used in this storyboard are a made up language, so the audience isnt supposed to be able to read them – but they should be able to infer what they are saying to some degree. I have to decide if the spoken word be english or another made up language? I’m not sure it has to be understandable – as long as the story and action can convey enough. I can experiment with that anyway.

I think that the advert character should reappear at the end of the film – to come full circle. I think he should also appear at other points in the film, but especially at the end – like the ‘fight club’ and the players ‘grid’ room.

storyboard together

I like how the story is progressing but I think it still needs more work – and I need to really hone in on exactly what the question is I need answering.

There are also some things I think could work really well in this version of the story which I want to consider moving forward, like a dream sequence. Similar to the daydreaming about paradise, he could imagine himself in paradise and it could turn bad – a scary monster or shadow or something takes over the dream and he wakes up with a start.

He could imagine all sorts of things – it could be quite bizarre and really delve into what the character is feeling more.