World-Building, part one

Oblivion is a project I’ve been working on for quite some time now. It’s taken various forms over the years, starting off as a character animation test in Deluxe Paint 3 on the ancient Amiga A500, and I’m currently redeveloping it as a webcomic for Catalyst Studios.

At its heart, Oblivion: Spoils of War is a dystopian tale of conflict across the galactic diaspora. The back-story and plot lines are all worked out, and now I’m setting out the final aspects of visual design.¬†
Over my next few posts I’ll be working through the visualisation process, beginning with how I’m working on bringing the mining colony of Tella-4 to life for the first chapter.

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Character design…

After being asked many times exactly how we came up with our characters, I took advantage of a presentation skills course at work to put together a potted introduction to the topic. So, I present to you in full color stretch-o-vision:


A long time ago in a galaxy far, far away…

It’s been 10 years since Jonathan and I first collaborated on Faster Than Light, so in honour of Jonathan’s upcoming birthday I’ve gone back to the original crew and drawn them in the style I’d use today…

L-R: Barrington, Maru, Jameson, Yoko and friend

 

Happy birthday Jonathan!

It’s a bit early, but there you go… :^P


Of sound design and small cinemas

Being a big Coen Brothers fan, I saw No Country for Old Men last weekend. We headed over to the Phoenix, a great little two-screen joint in Jericho (as in the Oxford suburb, not the ancient West Bank city) partly to escape the horrific doldrums that are the twin Odeon Cinemas in Oxford’s town centre, but mostly to take advantage of Jericho’s great pubs..

Anyway, the film was/is fantastic – another Coen triumph which sits a lot closer to Fargo in tone and style than anything else in the brothers’ oevre (I cannot believe I just used that word). It’s an adaptation of a novel by Cormac McCarthy which I’ve not read, but may just have to seek out having seen the film. But the thing that struck me most about it was the sound of wind that permeated each scene in testament to the film’s desolate Southern Texas setting.

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Like some futuristic beachcomber…

… I stumbled across an interesting little video whilst wandering the ‘net today, and thought – what’s the point of having a blog if I don’t write random things in it about stuff like this?

The “this” in question is a video released to promote a recent BBC Timewatch documentary. 3 graphic designers on a tiny BBC budget managed to recreate the Omaha beach landing almost as well as Spielberg, with approximately 996 less actors:

“Bloody Omaha” – behind the scenes

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