I used the characters from Little Nightmares as a reference when creating the materials. The overall color palette is low in saturation, with the skin rendered in a sickly, waxy yellow tone, covered in stains and blood marks.
I imported the models into Maya to unwrap the UVs, merging components that share the same materials in advance to create unified UV sets, which will make the texturing process more efficient later on.
After that, I imported the graybox models into Unreal Engine and set up a preliminary version of the scene.
I centered the composition around the operating table, with the monster seated beside it, performing the procedure. A cold, pale spotlight from an overhead incandescent lamp focuses on the scene, reinforcing the sterile and unsettling atmosphere. Throughout the process, I continuously adjusted the composition through the camera view; however, the lighting remains somewhat flat and lacks depth, which is the main issue I identified this week.
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my work:
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During the creation of the walk cycle animation, I gained a more systematic understanding of the relationship between walking rhythm and shifts in the character’s center of gravity. By repeatedly adjusting step length, timing, and foot placement, I gradually realized the importance of solid contact poses in preventing foot sliding. At the same time, coordination and follow-through between different parts of the body helped make the walk feel more natural and cohesive. This exercise made me realize that a seemingly simple walk cycle actually requires careful control of timing and attention to detail, and it also laid a foundation for more complex character animation in the future.
This week’s lectures focused on how to choose a clear and manageable research topic and how to develop a strong academic argument. We learned that a good research question should be focused, researchable, and intellectually challenging, rather than too broad or too obvious. The topic should connect to art, design, or visual culture and sustain long-term interest.
The sessions also emphasised the importance of building an argument. Academic writing is not just descriptive but argumentative, requiring a clear position supported by credible evidence. Developing sub-questions, evaluating sources, identifying bias, and finding gaps in existing literature are essential steps in forming a convincing investigation.
I do not plan to create character animation, so I approached the character’s body using a modular sculpting workflow. I used pre-rigged character assets to pose the figures in Maya, then imported them into ZBrush. From there, I extracted the parts I needed and further modified them to fit the design.
I envisioned the character in a seated pose, holding a knife and scissors while dissecting a corpse. The brother’s head hangs limply to the side, his facial flesh frozen into a bitter, strained smile—an unsettling and spine-chilling sight.
I haven’t polished it much yet, and it still looks a bit like foot sliding.
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my work:
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This week, I continued refining my previous animation and recorded new reference footage, aiming for a more exaggerated and “animated” performance. For some of the action transitions, I experimented with easing to make the overall movement feel more natural and fluid.