These animations display a proficiency in a variety of software, ranging from free, open-source programs like Blender and Unreal Engine, to industry standard products like Adobe Photoshop, Premiere Pro, etc. While not directly related to public affairs or communications, there are a lot of skills I've learned, and practices from communications that are implemented within each of these projects.
A short teaser about the main character, in relation to both the "all is lost moment" of the story, to surprisingly, another "all is lost moment".
workflow, pipeline, design document.
Project Ideation
This first started out as an idea in one of my college classes where I created a demo for a game known as PlagueWise. The demo was received well after just 4 months of development. This led me to expand the content of the game, creating a roadmap of changes and updates planned for future development.
With my engines class ending and my senior seminar beginning, I wasn't going to have enough time to implement all of my ideas as I had to focus on other classes to finish my degree. I chose to create a cinematic trailer using Unreal Engine 5 to showcase what the game could look like as well as generate some interest in the development.
While I have had previous experience using Unreal Engine 5 for video game development, creating a cinematic trailer was a bit different. I didn't use blueprints as often; and I was able to cut corners as those corners were out-of-frame. Not only did I learn more about the engine itself, I learned a lot of cinematography tricks that I've used for other projects. While learning more technical skills is useful, it wasn't the purpose of the trailer.
Project Intent
I mentioned that it started out as a class project, but it opened my eyes to the work of messaging and using visuals and audio to change the way people are experiencing media. With PlagueWise: The King's Evil, I wanted to experiment with traditional storytelling (hero's arc). The trailer shows two instances where the protagonist fails, the first is when he's knocked down, the next is when he arrives at the burned town. These two instances play with the idea that the character has an "all is lost" moment, but then it gets even worse, essentially hitting rock bottom, then finding a shovel to dig deeper.
I had the opportunity to show off the trailer in class, where I used this time to get a sense of how everyone reacts to each scene, from jaw drops to eyes being glued to the screen, I had a sense that the trailer definitely pulled in the audience's attention. While the trailer is short, it had achieved the outcome I was working for, having the audience's attention trapped. The non-linear storytelling required the audience to keep focus, and each failure make people eager to see him overcome it, achieving the point of the teaser.
While the development of the game is incredibly slow at the moment, the excitement of seeing the protagonist overcome these challenges has kept the audience hooked and eager for the release of the game.
Project Outcome
The intended outcome was to hook the audience, and to keep them engaged with the media being presented. The outcome had exceeded expectations with members of the audience asking deep-cut questions related to the game, generating more interest for the future release. Between the audio choice, atmosphere, and colors, the teaser trailer kept the audience on the edge of their seat, emotionally guided by the design, there were scenes I implemented that caused members of the audience to lean forward as if attracted to the screen.
With the feedback received, and the impression I've gathered from the audience, the trailer was a success.
Process and Timeline
August 20, 2024
Starting with the game demo, I came up with the idea behind the game before my class had officially started. Knowing what the class entailed, I spent a lot of time drafting storyboards to come up with an idea that isn't saturated, and followed consumer interests. One key element in this whole process was taking in customer sentiment about certain game design and features, and seeing what other games are doing.
One feature players seem to dislike is microtransactions. While most game companies push out free games with in-game purchases, the overall sentiment is that most players prefer working towards unique and interesting items, rather than opening a loot box, purchasing a reward track, or even outright purchasing cosmetics. I had originally intended the game to not include in-game purchases, but to cost $30. Another sentiment players seem to have is receiving a game worth its price tag. One example of a game not achieving this would be Destiny 2 by Bungie. With each expansion, it seems that players express frustration with the lack of content, even though this extra content costs about as much as another game would. This can cause strife between the players and the game with some customers purchasing the additional content, getting exclusive items that improve their character, while other players who refuse to purchase the content miss out on better equipment.
August 26, 2024
After attending class for a week and getting the general feel for what's required of me, I began learning Unreal Engine 5 as my engine of choice (we had to pick between a few options). The class wouldn't officially teach UE5 until the last few weeks, so everything had to be self-taught.
The hard part of coming up with a game idea was done, I just had to learn how to implement it. Starting with character design, I picked up Blender, a free open-source program that allowed me to use hard-surface modeling techniques to create characters, assets, and textures.
October 21, 2024
This marked the halfway point of the semester, I had basic character models completed and animated and started the process of implementing systems and control features.
December 5, 2024
The demo was completed and presented in class. A title screen was implemented along with a settings menu with options to change the game visually. Once the player loaded into the game, they were able to move around, activate the character switching, and use an emote button.
January 6, 2025
My senior seminar class has started, and we were given directions and guidelines for our cumulative projects. At this point, I was undecided on whether to continue working on the demo, or to create a cinematic to exercise my communication skills.
January 20, 2025
I had decided to go with a cinematic and had created a rough draft for how the animation will play out. I took this opportunity to silently compete with my classmates, it wasn't entirely a competition, nor was it out of malice. Giving myself certain goals to reach on a self-guided project was a little difficult, mainly because I didn't have a timeline fully realized and I didn't know where I should be progress-wise.
February 2025
At this point, I had a script and storyboard of what I wanted, I also had the scenes blocked out to get a general feel for scale, and what shots to implement. I prepared two sets for recording, one of a forest, and one of a town. Two different feeling places gave the animation some depth and layers, whereas having one set would've made the overall story boring and monotone. I had also picked up Adobe Substance Painter 3D as another program to use. This program gave me better insight into the pipeline for texturing and implementing textures across all programs.
March 2025
My nose was to the grindstone. The days starting from February started to blend together as I worked on the cinematic. While I had other classes that required my attention, this project took not only extra class time, but also my free time as well. A project of this scope typically has a team working 40 hours a week to get this project done, whereas I only had 3 months total to have it completed. By the end of March, the textures were complete, the models and environments were done, the only thing left was to record and edit the scenes.
Totaling 12 separate scenes, some unused, I managed to record each scene in a matter of hours, by far the quickest part of the project. One benefit of using Unreal Engine 5 is the real-time rendering, what you see in the editor is often times what you see through the camera. This circumvented the traditional render time of days to a matter of minutes (something I had shared in my class previously that had helped other students doing similar projects). While this helped my project immensely, this also helped my classmates and the quality of their projects skyrocketed. Going from freshman level animations to attention grabbing technical animations. My one-sided competition had then worked its magic, with other students shooting up in quality, it forced me to meet and exceed their levels.
April 2025
April marked the last few days of instruction, meaning one last chance to have my work critiqued. At this point, I essentially had a final draft completed (the video above). This draft was well received and had exceeded my previous expectations. While there was a department showcase this same month, I had submitted this project as I completed it, and it was quickly accepted. The overall support for the project was immense, even attracting the attention of a local game company interested in its future progress.
This sculpt of an orc head will be the high-poly mesh for the orc enemies in my game PW: TKE, this is the first step in physically creating this enemy type, which starts from a single sphere mesh, and turning into a head, which would be rigged later on for facial animations.
The PlagueWise Newsletter was a project done for my communications 565 class focused on marketing communicaitons management and campaigns. I first started this project by submitting a first draft for approval, once I had approval, I had to organize either focus groups or individual interviews for market research. I identified an audience that would most likely find this type of project appealing, then invited them for interviews.
After a few weeks of market research, I distilled down all the feedback received and re-did my project from the first draft.