Games Development - Task 2: Art Asset Development

⭐ 21/5/2025 - 4/6/2025 (Week 5 - Week 7)

🎀 Yan Zhi Xuan | 0369425 

💜 Game Development | Bachelor of Design (Hons) in Creative Media | Taylor's University 

📚 Task 2: Art Asset Development

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TABLE OF CONTENTS  /ᐠ - ˕ •マ ⋆｡°✩

1. Lectures

2. Instructions

3. Task 2: Art Asset Development

4. Feedback

5. Reflections

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1. LECTURES ⊹ ࣪ ˖₊˚⋆˙⟡

 

Week 5

Fig. 1.1 Tutorial Character Rigging.

Document Tutorial: 2d rigging.docx

Character rigging is the process of creating a skeleton (rig) for a 3D character model so it can be animated. Rigging allows animators to move and pose a character by manipulating a set of controls rather than having to deform the mesh directly.

Week 6

Fig. 1.2 Sprite sheet animation.

Tutorial Video: sprite sheet animation.mkv

Sprite sheet animation is a 2D animation technique where all animation frames are packed into a single image (called a sprite sheet), and different parts of the image are shown in sequence to create motion. Example: Imagine a character walking. The sprite sheet might contain 6 frames: step left, mid-step, step right, etc.

Week 7

Fig. 1.3 Change Player.

Document Tutorial: Replace your own character.docx

• Import Your Sprite: Add your custom sprite or sprite sheet to the project.
• Select the Player Object: In the Hierarchy, click on Player (the prefab).
• Swap the Sprite: In the Sprite Renderer, replace the default sprite with your own.
• Update Animator (if needed): Assign your Animator Controller and animations.
• Adjust Collider: Resize Box Collider 2D to fit your new character.
• Apply Changes: Click Overrides > Apply All or save as a new prefab.

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2. INSTRUCTIONS ⊹ ࣪ ˖₊˚⋆˙⟡

Fig. 2.1 Module Information Booklet - Games Development.

Task 2: Art Asset Development (Week 05–07, 20%):

• Design game art assets: characters, environment, props, obstacles, HUD, power-ups 
• Focus on creativity and conceptual ideas 
• Submit: PDF or Google Doc, E-portfolio post

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3. TASK 2: ART ASSET DEVELOPMENT ⊹ ࣪ ˖₊˚⋆˙⟡

Yan Zhi Xuan (me)

Character Design

References:

Fig. 3.1 References of Character Design.

The reference blends storytelling, gameplay clarity, and style consistency effectively. It shows how to balance emotional tone and technical constraints, ideal for 2D sprite-based game projects. Characters are designed to be iconic at small sizes, while enemies and environments serve to support gameplay diversity and world-building.

Fig. 3.2 Characters.

🎨 Characters

• Subject #02 (Main Character)
• Ghosts (AI Echoes)
• Malfunctioning Machines
• Monsters Born from Failed Experiments
• Dr. XX (Final Boss)

Fig. 3.3 Characters' sketches.

Initial sketches, exploring different silhouettes and personality traits for each character type. My goal was to create a distinct visual language for each category while ensuring they all felt like part of the same world. Final sketches, focusing on clearer shapes, stronger poses, and more expressive details to support animation. Color testing for Subject #02, experimenting with a few different palette variations to find one that would stand out against the game’s atmospheric background while preserving the character’s mysterious yet sympathetic presence. This character design process helped define the game’s overall tone and provided a solid foundation for animation and gameplay development.

Character Design - Sketches

Fig. 3.4 Initial Sketches

Fig. 3.5 Final Sketches

Character Concept Evolution – Initial vs. Final Sketches

The initial sketches present rough, exploratory designs focused on establishing distinct silhouettes and personalities for each character. Subject #02 starts as a simple, smooth figure with rounded features, while the Ghost is portrayed with exaggerated drapery and shadowed eyes. The Malfunctioning Machine and Monster Born from Failed Experiments have compact, bold forms with clear, readable shapes, and Dr. XX appears more human, heavily armored and menacing.

In the final sketches, each character is further refined with more defined details and adjusted proportions to better reflect their roles in the game. Subject #02 gains additional markings and sleeve-like arms to enhance its identity. The Ghost’s form becomes smoother and more emotionally expressive. The Malfunctioning Machine now includes a stitched crack, warning symbols, and sharper eyes, emphasizing its corrupted state. The Monster appears more hostile and unstable with larger claws and a stitched mouth. Dr. XX transforms dramatically—now wielding a trident and featuring mechanical arms, a floating halo, and a more stylized, villainous appearance—solidifying his presence as the final boss. The evolution reflects improved character clarity, personality, and alignment with the game's tone.

Work Progress in Adobe Illustrator

Fig. 3.6 Work in Adobe Illustrator.

In Task 2, I used Adobe Illustrator to create the final vector line art and colored versions of all five main characters in the game: Subject #02, Ghost (AI Echo), Malfunctioning Machine, Monster Born from Failed Experiments, and Dr. XX (Final Boss). The process began by importing the finalized sketches into Illustrator, where I outlined each character using the Pen Tool with a consistent 3pt round stroke to maintain a cohesive visual style across all assets. 

I worked initially to focus on refining the shapes and ensuring the proportions and silhouette clarity matched the intended design. Each character was organized into individual layers, named clearly (e.g., “Main,” “Monster,” “Machine”) to allow for smooth editing and color separation. After completing the outlines, I began the coloring process. I filled each segment with flat base colors that match the established character palette. I ensured that the colors not only represented each character’s identity but also maintained visibility and contrast across potential in-game environments. 

Special attention was given to Dr. XX, the final boss, who has more detailed elements like mechanical arms and a trident. His components were grouped and structured with layering in mind to prepare for later animation or rigging. This vector process in Illustrator ensured that all characters were scalable, editable, and visually consistent, which is crucial for game development workflows where assets may be reused across UI, animation, and promotional materials.

Fig. 3.7 Colour Experiment.

These images show a color experiment for the main characters in the game. Each version explores a different color scheme while keeping the character outlines and forms consistent. The variations test how different hues and tones affect character readability, contrast, and visual harmony against the light blue background. The goal is to find a palette that enhances the characters’ identities—such as making the hero stand out, the ghost feel eerie, the machine look corrupted, the failed experiment appear unstable, and the final boss feel ominous and dominant—while maintaining a unified art style.

Fig. 3.8 Initial Character Design. 

Feedback: The character design could be further refined to better match the style and atmosphere of the background for a more cohesive look. (Further Refinement in Task 3)

💜Character Design Reflection: Initial Style vs. Game Atmosphere

In the initial character lineup, each design establishes a strong visual identity and contributes distinct personality traits to the game world. From the mysterious Subject #02 to the final boss Dr. XX, the silhouettes and expressions clearly communicate each role. However, stylistically, the flat line-art and minimal shading of the characters contrast heavily with the depth and mood of the game’s background environment. This creates a visual disconnect that slightly breaks immersion.

To strengthen the overall cohesion, the character designs could be refined with more depth, texture, and painterly treatment that echo the soft gradients and rich atmosphere of the game world. For example, subtle shadows and lighting effects could be introduced to the characters, while maintaining their clean shapes and charm. The goal isn’t to overhaul their identity but to blend them more naturally into the game’s universe. With a consistent rendering style, the characters will feel like they truly belong in the eerie, mysterious world they inhabit—enhancing both storytelling and player engagement.

Characters' Animations

For this task, I created rough animation loops for three enemy types: the Monster Born from Failed Experiment, the Malfunctioning Machine, and the Ghost (AI Echo). These early tests focus on establishing movement flow and silhouette clarity. Each character includes four main states: Idle, Walk/Fly, Attack, and When Die, animated in a looping sequence to represent their behavior in-game.  

Fig. 3.9 Ghost.

The Ghost gently floats in place during idle, drifts forward like fabric in the wind while flying, leans in eerily to attack, and is designed to fade or vanish when defeated (placeholder visible). 

Fig. 3.10 Malfunctioning Machine.

The Malfunctioning Machine stands rigid with blinking warning lights in idle mode, steps mechanically during its walk, performs a swift arm movement when attacking, and powers down with a slump upon defeat.

Fig. 3.11 Monster Born from Failed Experiment.

The Monster character has a restless idle, charges forward in a beastly stride, slashes with aggression during attack, and collapses dramatically when it dies. 

These animations help convey the personality, pacing, and combat style of each enemy while ensuring visual clarity and consistency across gameplay. Based on Ms. Mia’s feedback, I will refine the art style of each character to better match the game’s background aesthetic and polish the animations to improve timing, fluidity, and expression in the final version.

Yang Zhi Qing (my teammate)

Level Design

References:

Fig. 3.8 References of Level Design.

Fig. 3.9 References of Level Design.

Fig. 3.10 Final Level Design.

My teammate, Yang Zhi Qing took charge of the level design, creating four uniquely styled environments: Level 1 - Lab Room, Level 2 - Corridor, Level 3 - Sewer, and Level 4 - Boss Room. Each area is thoughtfully composed with distinctive shapes, layered depths, and atmospheric lighting to guide the player's exploration. The visual tone shifts across levels to reflect different narrative moments, from eerie scientific ruins to high-tech chambers. Her work effectively establishes the environmental storytelling and supports smooth platforming gameplay flow.

Chin Tze Wei (my teammate)

UI Component Design

References:

Fig. 3.11 References of UI Component Design.

Fig. 3.12 UI Components.

My teammate, Chin Zte Wei was responsible for designing the UI components of the game. This includes key interface elements such as the HP bar, energy chips, heart icons, start menu, keycard, and various button designs. His use of a vibrant neon pink color scheme not only gives the UI a bold and futuristic look but also ensures strong visual contrast against the game backgrounds. The designs are cohesive, stylized, and aligned with the game’s sci-fi and glitch-inspired theme, providing players with clear and engaging interactive elements.

⭐ Final Submission

Presentation Slide ·RE:SET·

The content included in the Presentation Slide:

• Character – 03
• Environment – 04
• Items and Props – 10
• Obstacles – 12
• Power-ups – 15
• Heads-Up Display design – 16

Fig. 3.13 Game Development - Task 02: Art Asset Development.

⭐ My Contribution (Yan Zhi Xuan)

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4. FEEDBACK ⊹ ࣪ ˖₊˚⋆˙⟡

Week 5

The background of the game looks really nice — the art style is appealing and sets a good tone for the level design. One suggestion to consider would be adding a bit more depth to the background to enhance the visual layering. Also, the character design could be further refined to better match the style and atmosphere of the background for a more cohesive look. Of course, these are just suggestions for improvement, not strict requirements — take what works best for our direction.

Week 6

No feedback given.

Week 7

We can present during week 8.

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5. REFLECTIONS    /ᐠ - ˕ •マ

This task really allowed us to dive into the visual storytelling aspect of game development, and I found it both creatively fulfilling and technically challenging. I was in charge of shaping the visual identity of our game, which included designing characters and animation of characters. It was the stage where the world I had imagined during the Game Design Document began to visually take form—and that felt incredibly exciting.

I started the process by collecting references and creating a visual moodboard that would help me stay consistent in terms of style and tone. I experimented with a range of art directions—sketchy vs. polished, pastel vs. vibrant, detailed vs. minimal—before settling on a color palette and style that truly captured the atmosphere I envisioned for the game. That part of the process made me reflect a lot on how visual elements influence player emotion and storytelling.

One of the most enjoyable parts for me was definitely character design. I wanted the characters to feel alive—not just in motion, but in personality. I challenged myself to convey their roles, backstory, and emotions through facial expressions, posture, clothing, and color. It felt like I was bringing my game’s narrative to life visually, and I tried to make each character not just functional, but memorable.