PROJECT
Liddell's Nightmare
INTRODUCTION
This game will be a realistic 3D open-world game in which the player can roam freely. The historical context put in place is that of the French Revolution. The point of view is that of a woman seeking independence during difficult times for women, who must remain at the service and the mercy of men. But besides, this woman will take part in the said revolution as a “feminist” and a revolutionary. It is due to the lack of freedoms of the Ancien Régime and means of survival following the very harsh winters. But above all, to ensure the prevalence of women’s rights.
HISTORICAL ASPECT
The inferiority of intellectual and physiological women is emphasized during this period.
In the book Emile ou de l’Education, Rousseau develops the limits he places on the education of women so that they remain submissive. Women do not have autonomy and do not choose their life. They are wives and mothers before everything else, infantilized, or sexualized. The only object to which a woman should devote her time and her reflection is not by the abstraction of the spirit of men in general. But the soul of the men who are around her. Men to whom she is subject, either by law or by public opinion.
During the 18th century, women remained infantilized and condemned to restrict their ingenuity to games of seduction: fashion or smooth talk. However, some will try to defend their rights at the time of the Revolution as important figures mark the history of the arts, sciences, or power.
And the French Revolution denotes a period of large-scale social and political upheavals in France, in its colonies, and Europe at the end of the 18th century. This period in the history of France ended the Ancien Régime by replacing the absolute monarchy with a series of more or less defined regimes, including the First Republic, a little over three years after the storming of the Bastille.
This period in the history of France ended the Ancien Régime by replacing the absolute monarchy with a series of more or less defined regimes, including the First Republic, a little over three years after the storming of the Bastille.
The French Revolution bequeathed all new political forms. In particular, the Declaration of the Rights of Man and the Citizen of 1789. It proclaims the equality of citizens before the law, fundamental freedom, and the sovereignty of the Nation.
CREATIVE ASPECT
I will explain the different steps in creating the visual of a video game. I will show the steps, from sketching boards to 3D animation.
To create a background, we have to do in-depth research on the theme: building a concept art setting requires excellent knowledge of the subject.
With solid documentation, it becomes easier to materialize the details that will enhance the decor. For our game, it is necessary to create a decoration of the French 18th century. Then, we have to make sketches of different majors places to the game, like Notre Dame cathedral and Place de la Bastille, to put the character in context.
Once the visual game world is created, you have to get down to character creation.
In the beginning, I draw several silhouettes very quickly, building them with the simplest shapes possible. We could easily decompose these shapes with rectangles, ovals, and triangles. It’s about finding a general ’’attitude’’ that best embodies my character’s personality.
Starting from my basic silhouette, I continue my research to improve it, but also to find my clothes by dressing the basic shape. At that moment, I use the knowledge I gain about the period (French Revolution).
Then, I draw my character in volumes, which allows me to dress her by adapting the drapes to her body, but also to check if the silhouette works. I defined the face of my character by doing several tries.
I now create the «model sheet» of the character very quickly, as well as some very quick expressions, for a better understanding of the character from different angles.
I quickly draw poses, drawing inspiration from Lorina’s in-game actions and movements. I choose the character’s poses based on the efficiency of the gestures, but also on the idea that I want to convey in the video game.
We now move from sketching to 3D sculpture, starting with modeling the character in volume. At this moment of the creative process, the character has no color or material yet. The work on the textures, therefore, takes place following this modelingstep. Materials, colors, and light are used in layers, successively applied to the character. This is the moment when we have to define the materials we will need (Skin, fabric, metal, wood, etc.). The pigments necessary for the modeling of these materials are then defined. It is also essential to anticipate how the surfaces will reflect the light.
Once done, the 3D model is completed and comes in a fixed pose. It is, therefore, time to switch this frozen model to an animated model to make it alive.
The body needs to be animated. The character’s skeleton allows him to move. Its animation, therefore, involves the design of an armature enriched with movement points with a well-defined amplitude. You could compare this process to digital puppet threads.
For face animation, technically animating the face is the same as that of the body. But instead of movement, it’s about putting together a palette of expressions.
And the addition of movement of the hair, folds of the clothes, stretching of the skin, swelling of the muscles makes the movements of the character more realistic.
We will be selling goodies (main character miniatures, badges, etc.), and to early fans who supported the pre-production of "Liddell's Nightmare", we will be giving away collector's sets as well as a collector's card. numbered and nominative.
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