I focused on cinematic sequencing and animation. Camera rails and cinematic cameras were set up, and multiple object animations were keyed to enhance environmental storytelling.
The main sequence was designed to simulate a player-like exploration, beginning from a telephone booth and moving outward into the steampunk city, gradually revealing environmental details and atmosphere.
Different lighting setups were used to distinguish narrative spaces: • The main steampunk city features a sunset lighting scenario, conveying a sense of grandeur and romanticism. • The cult environment is set at night with rain, using green ambient lighting contrasted with red backlighting behind doors, while candles provide warm highlights to enhance visual tension.
During the final stage, I addressed rendering crashes and quality limitations by switching to cinematic-level rendering. Output settings were optimised for high quality and anti-aliasing, exporting the sequence as high-quality image frames, which were later composited into an animation in Blender.
I also imported a previously created angel model to increase the dramatic impact of the cult scene. And add the object animation in the level sequence.
I focused on building a steampunk environment in Unreal Engine, starting with a whitebox layout to establish spatial structure and scale.
One of the main challenges was constructing the street layout, as the map was based on brick street modular assets that required manual assembly. This process was time-consuming but allowed precise control over the environment’s layout. I imported Ultra Dynamic Sky to create an adaptive sky system and integrated multiple steampunk architectural OBJ assets to populate the scene.
For materials, I applied Unreal Engine smart material assets to all whitebox meshes. I modified the master material by adjusting and adding nodes, then created and fine-tuned several material instances. UV scaling was adjusted to ensure consistency across the environment, resulting in a cohesive steampunk visual style.
Two camera angles were set up at this stage. However, the limited map size caused the skyline boundaries to become visible in camera shots. To resolve this, I adjusted height fog, expanded the playable area, and placed architectural structures in the distance to block the horizon line, ensuring the environment appeared continuous and immersive.
In addition, I constructed a cult-themed secondary environment, establishing its spatial layout and setting up two initial camera shots.
Material
For materials, I applied Unreal Engine smart material assets to all whitebox meshes. I modified the master material by adjusting and adding nodes, then created and fine-tuned several material instances. UV scaling was adjusted to ensure consistency across the environment, resulting in a cohesive steampunk visual style.
After i modelled the scene in blender, I use Rizom UV to fix the UV part.
Studied in-between animation between poses. The blocking and turning it into a real animation.
The work process of blocking involves, firstly, recording a reference, then posing and timing: key poses, breakdowns. After that, make sure the weight is correct. The next step is offset body parts should not all move at the same time. The last one is Inbetween. Adjust the parts that are done by the computer.
A weapon-throw attempt highlighted the need for more precise controller binding, so focus shifted to an empty-hand martial arts performance.
I draw a plan. Reference material was used, but exaggerating motion and avoiding straight-line posture created a more dynamic and expressive animation.
Worked on walking cycles, including weight shifting and looping motion. Step lengths were initially inconsistent, causing foot placement drift. Used a fixed object to control step length and looped walk curves with constant offsets, enabling consistent forward movement.
Learned about IK, FK controllers and their distinctions; the two should not be moved simultaneously. Practiced blocking before full animation. Explored the golden pose, emphasizing dynamic body shapes such as the “C-shape” and adjustments to the character’s center of gravity for balance and visual appeal.
Hands reflect what the character is feeling, help define their personality, and express emotion. Use grouping, the leading finger, and the inner connectivity method to do the hand pose.
This week, I worked on a bouncing ball with a tail, focusing on the principle of anticipation. I learned that anticipation functions as a mechanical build-up of force, allowing motion to appear more dynamic and physically believable. Since all movement is created by internal or external forces, anticipation helps store and release energy effectively before the main action.
I applied the idea that animation is structured around anticipation, action, and reaction, and used this understanding to improve energy flow and motion continuity. By applying anticipation before directional changes, the animation follows basic physical laws of motion and results in more natural conservation of energy.
I learned that character actions are driven by goals, and acting is reacting. Based on this, I created a simple juice box acting animation focused on clear intention and response. Including the planning, blocking and animation.
This week, I studied basic ball bounce animation principles, focusing on motion, timing, and physical behaviour. I practiced using Maya’s Reference Editor, motion trails for visualising movement, and the Graph Editor to refine animation curves.
I created a short animation of a ball falling, bouncing, and rotating. During the process, I fixed an issue with incorrect rotation direction and adjusted the motion using visualised trajectories and curve editing to improve accuracy and clarity.
I also improved my animation planning by refining my drawing-based timeline, which helped structure the animation more effectively before working in Maya.
In addition, I created a falling juice box animation. I recorded reference videos of juice boxes with different weights being dropped and used these references to study and replicate variations in falling speed and physical behaviour.
Animate two juice cartons falling: One empty carton One full carton
I studied the principles of timing and spacing in animation, including linear spacing and slow-in/slow-out, and applied them to adjust the motion rhythm and enhance the clarity and realism of the animation.
This week, I studied basic ball bounce animation principles, focusing on motion, timing, and physical behaviour. I practised using Maya’s Reference Editor, motion trails for visualising movement, and the Graph Editor to refine animation curves.
I created a short animation of a ball falling, bouncing, and rotating. During the process, I fixed an issue with incorrect rotation direction and adjusted the motion using visualised trajectories and curve editing to improve accuracy and clarity.
I also improved my animation planning by refining my drawing-based timeline, which helped structure the animation more effectively before working in Maya.
In the land of Aetherian, day and night are born only from the great Rift. History speaks of a time when luminous orbs once governed the light and dark. The Esoteric Creed holds that the world’s order was once maintained by a pantheon of “gods”— beings who bestowed truth and civilization, observers existing in the space “Between Order and Chaos.”
Among them is Vigilant—the All-Seeing Watcher, god of the Esoteric Creed. He gazes upon all mortals, granting reason and knowledge, though those who dare to overstep the bounds of understanding often pay the price in madness or a slow transformation into iron.
Steam
Steam is the vital energy of this world. Scientists hail it as a new power source; merchants call it the lifeblood of fortune. But the Esoteric Creed believes it to be the very breath of slumbering elder gods— a fusion of Aether-essence and living metallic spores, an existence both spiritual and deeply corrupting.
When burned, it emits a pulsating glow of deep crimson or copper-green—a force of life and corrosion. Those who inhale it for long fall prey to Iron-Wasting: their skin rusts, their thoughts solidify, until they are eventually absorbed by the city itself. To the Creed, this is a “penalty of truth”— forbidden knowledge, once touched, reduces a man back into the base components of order.
The Rift and the Gaze
That colossal fissure in the sky, the sole source dividing day from night, is the focal point of all conflict between faith and science.
The Esoteric Creed names it the divine organ of Vigilant, a window through which He watches mortals with countless eyes. Scientists dismiss it as a natural phenomenon, attributing the occasional sensation of being watched to energy anomalies caused by steam pollution.
Yet regardless of interpretation, all feel the weight of that gaze— a presence that does not seem to judge, but merely to observe. And that observation alone is enough to shatter sanity.
Scene I: The Forged Iron Harbour & The main city
Type: Steampunk City Streets Visual Reference: Mechanical Labyrinth Style
Atmosphere: Rust, mist, pipelines. A bastion of steel and industry.
Narrative Points: While the city gleams under airships and neon, the workers below are slowly consumed by Iron-Wasting.
Walls bear two conflicting creeds: The Creed’s slogan: “Bliss in Ignorance, Boundaries are Mercy.” The Industrial Alliance’s advertisement: “Break Limits! Steam Creates Infinity!”
Narrative Points: The chapel lies hidden deep within the city’s lowest steam-shrouded layers, its structure repurposed from ancient ruins. The high priest invokes the “Truth-Warded Guardian.”
3D character design: ZBrush/nomad
Time of Day Day / Night Dominant Palette Verdigris, Iron Grey, Misty Amber Crimson, Azure, Dark Gold
The industrial sector’s lights and the chapel’s rituals share the same eerie red and green glow— a subtle suggestion that technology and faith may, in essence, spring from the very same source of power.
